| 55. By the Way-side. |
§ 9. But this peculiar execution of Turner’s is entirely uncopiable; least of all to be copied in engraving. It is at once so dexterous and so keenly cunning, swiftest play of hand being applied with concentrated attention on every movement, that no care in facsimile will render it. The delay in the conclusion of this work has been partly caused by the failure of repeated attempts to express this execution. I see my way now to some partial result; but must get the writing done, and give undivided care to it before I attempt to produce costly plates. Meanwhile, the little cluster of foliage opposite, from the thicket which runs up the bank on the right-hand side of the drawing of Richmond, looking up the river, in the Yorkshire series, will give the reader some idea of the mingled definiteness and mystery of Turner’s work, as opposed to the mechanism of the Dutch on the one side, and the conventional severity of the Italians on the other. It should be compared with the published engraving in the Yorkshire series; for just as much increase, both in quantity and refinement, would be necessary in every portion of the picture, before any true conception could be given of the richness of Turner’s designs. A fragment of distant foliage I may give farther on; but, in order to judge rightly of either example, we must know one or two points in the structure of branches, requiring yet some irksome patience of inquiry, which I am compelled to ask the reader to grant me through another two chapters.
[1] I don’t know that this is rightly expressed; but the meaning will be understood.
CHAPTER VI.
THE BRANCH.
§ 1. We have hitherto spoken of each shoot as either straight or only warped by its spiral tendency; but no shoot of any length, except those of the sapling, ever can be straight; for, as the family of leaves which it bears are forced unanimously to take some given direction in search of food or light, the stalk necessarily obeys the same impulse, and bends itself so as to sustain them in their adopted position, with the greatest ease to itself and comfort for them.
In doing this, it has two main influences to comply or contend with: the first, the direct action of the leaves in drawing it this way or that, as they themselves seek particular situations; the second, the pressure of their absolute weight after they have taken their places, depressing each bough in a given degree; the leverage increasing as the leaf extends. To these principal forces may frequently be added that of some prevalent wind, which, on a majority of days in the year, bends the bough, leaves and all, for hours together, out of its normal position. Owing to these three forces, the shoot is nearly sure to be curved in at least two directions;[1] that is to say, not merely as the rim of a wine-glass is curved (so that, looking at it horizontally, the circle becomes a straight line), but as the edge of a lip or an eyebrow is curved, partly upward, partly forwards, so that in no possible perspective can it be seen as a straight line. Similarly, no perspective will usually bring a shoot of a free-growing tree to appear a straight line.