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and all the shadows grey, where no distinction is made between water and form, or between real and reflective shadow, and which are generally without evidence of the artists having ever seen the sea.

Some pictures, however, belonging to this period of Turner are free from the Dutch infection, and show the real power of the artist. A very important one is in the possession of Lord Francis Egerton, somewhat heavy in its forms, but remarkable for the grandeur of distance obtained at the horizon; a much smaller, but more powerful example is the Port Ruysdael in the possession of E. Bicknell, Esq., with which I know of no work at all comparable for the expression of the white, wild, cold, comfortless waves of northern sea, even though the sea is almost subordinate to the awful rolling clouds. Both these pictures are very grey.

The Pas de Calais has more colour, and shows more art than either, yet is less impressive. Recently, two marines of the same subdued colour have appeared (1843) among his more radiant works. One, Ostend, somewhat forced and affected, but the other, also called Port Ruysdael, is among the most perfect sea pictures he has produced, and especially remarkable as being painted without one marked opposition either of colour or of shade, all quiet and simple even to an extreme, so that the picture was exceedingly unattractive at first sight. The shadow of the pier-head on the near waves is marked solely by touches indicative of reflected light, and so mysteriously that when the picture is seen near, it is quite untraceable, and comes into existence as the spectator retires. It is thus of peculiar truth and value; and instructive as a contrast to the dark shadows of his earlier time.

Few people, comparatively, have ever seen the effect on the sea of a powerful gale continued without intermission for three or four days and nights, and to those who have not, I believe it must be unimaginable, not from the mere force or size of surge, but from the complete annihilation of the limit between sea and air. The water from its prolonged agitation is beaten, not into mere creaming foam, but into masses of accumulated yeast,” which hang

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1 The “yesty waves” of Shakespeare have made the likeness familiar, and probably most readers take the expression as merely equivalent to "foamy”; but Shakespeare knew better. Seafoam does not, under ordinary circumstances, last a moment after it is formed, but disappears, as above described, in a mere white film. But the foam of a prolonged tempest is altogether different; it is “whipped ” foam, — thick, permanent, and, in a foul or discoloured sea, very ugly, especially in the way it hangs about the tops of the waves, and gathers into clotted concretions before the driving wind. The sea looks truly working or fermenting. The following passage from Fenimore Cooper is an interesting confirmation of the rest of the above description, depended upon as entirely free from exaggeration :—“For the first time I now witnessed a tempest at sea. Gales, and pretty hard ones, I had often seen, but the force of the wind on this occasion as much exceeded that in ordinary gales of wind, as the force of these had exceeded that of a whole-sail breeze. The sea seemed crushed; the pressure of the swooping atmosphere, as the currents of the air went howling over the surface of the ocean, fairly preventing them from rising; or where a mound of water did appear, it was scooped up and borne off in spray, as the axe dubs inequalities from the log. When the day returned, a species of lurid, sombre light was diffused over the watery waste, though nothing was visible but the ocean and the ship. Even the sea-birds seemed to have taken refuge in the caverns of the djacent coast, none reappearing with the dawn. The air was full of spray, and it was with difficulty that the eye could

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ropes and wreaths from wave to wave, and where one curls over to break, form a festoon like a drapery, from its edge; these are taken up by the wind, not in dissipating dust, but bodily, in writhing, hanging, coiling masses, which make the air white and thick as with snow, only the flakes are a foot or two long each; the surges themselves are full of foam in their very bodies, underneath, making them white all through, as the water is under a great cataract; and their masses, being thus half water and half air, are torn to pieces by the wind whenever they rise, and carried away in roaring smoke, which chokes and strangles like actual water. Add to this, that when the air has been exhausted of its moisture by long rain, the spray of the sea is caught by it as described above, and covers its surface not merely with the smoke of finely divided water, but with boiling mist; imagine also the low rain-clouds brought down to the very level of the sea, as I have often seen them, whirling and flying in rags and fragments from wave to wave; and finally, conceive the

surges themselves in their utmost pitch of power, velocity, vastness, and madness, lifting themselves in precipices and peaks, furrowed with their whirl of ascent, through all this chaos; and you will understand that there is indeed no distinction left between the sea and air; that no object, nor horizon, nor any landmark or natural evidence of position is left; that the heaven is all spray, and the ocean all cloud, and that you can see no farther in any direction than you could see through a cataract. Suppose the penetrate as far into the humid atmosphere as half a mile.” Miles Wallingford. Half a mile is an over-estimate in coast. (Ruskin's note.)

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effect of the first sunbeam sent from above to show this annihilation to itself, and you have the sea picture of the Academy, 1842- the snow-storm, one of the very grandest statements of sea-motion, mist, and light that has ever been put on canvas, even by Turner. Of course it was not understood; his finest works never are; but there was some apology for the public's not comprehending this, for few people have had the opportunity of seeing the sea at such a time, and when they have, cannot face it. To hold by a mast or a rock, and watch it is a prolonged endurance of drowning which few people have courage to go through. To those who have, it is one of the noblest lessons of nature.

But, I think, the noblest sea that Turner has ever painted, and, if so, the noblest certainly ever painted by man, is that of the Slave Ship, the chief Academy picture of the exhibition of 1840. It is a sunset on the Atlantic after prolonged storm; but the storm is partially lulled, and the torn and streaming rainclouds are moving in scarlet lines to lose themselves in the hollow of the night. The whole surface of sea included in the picture is divided into two ridges of enormous swell, not high, nor local, but a low, broad heaving of the whole ocean, like the lifting of its bosom by deep-drawn breath after the torture of the storm. Between these two ridges, the fire of the sunset falls along the trough of the sea, dyeing it with an awful but glorious light, the intense and lurid splendour which burns like gold and bathes like blood. Along this fiery path and valley, the tossing waves by which the swell of the sea is restlessly divided, lift themselves in dark, indefinite, fantastic forms, each casting a faint and ghastly

shadow behind it along the illumined foam. They do not rise everywhere, but three or four together in wild groups, fitfully and furiously, as the under strength of the swell compels or permits them; leaving between them treacherous spaces of level and whirling water, now lighted with green and lamp-like fire, now flashing back the gold of the declining sun, now fearfully dyed from above with the indistinguishable images of the burning clouds, which fall upon them in flakes of crimson and scarlet, and give to the reckless waves the added motion of their own fiery flying. Purple and blue, the lurid shadows of the hollow breakers are cast upon the mist of the night, which gathers cold and low, advancing like the shadow of death upon the guilty ship as it labours amidst the lightning of the sea, its thin masts written upon the sky in lines of blood, girded with condemnation in that fearful hue which signs the sky with horror, and mixes its flaming flood with the sunlight, — and cast far along the desolate heave of the sepulchral waves, incarnadines the multitudinous sea.

I believe, if I were reduced to rest Turner's immortality upon any single work, I should choose this. Its daring conception — ideal in the highest sense of the word is based on the purest truth, and wrought out with the concentrated knowledge of a life; its colour is absolutely perfect, not one false or morbid hue in any part or line, and so modulated that every square inch of canvas is a perfect composition; its drawing as accurate as fearless ; the ship buoyant, bending, and full of motion; its

1 She is a slaver, throwing her slaves overboard. The near sea is encumbered with corpses. (Ruskin's note.)

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