[1] The sails in the engraving were put in to catch the public eye. There are none in the drawing.
[2] These etchings of compositions are all reversed, for they are merely sketches on the steel, and I cannot sketch easily except straight from the drawing, and without reversing. The looking-glass plagues me with cross lights. As examples of composition, it does not the least matter which way they are turned; and the reader may see this Schaffhausen subject from the right side of the Rhine, by holding the book before a glass. The rude indications of the figures in the Loire subject are nearly facsimiles of Turner’s.
[3] With the exception of the jagged ledge rising out of the foam below which comes from the north side, and is admirable in its expression of the position of the limestone-beds, which, rising from below the drift gravel of Constance, are the real cause of the fall of Schaffhausen.
[4] “Individual,” that is to say, distinct and separate in character, though joined in purpose. I might have enlarged on this head, but that all I should care to say has been already said admirably by Mr. J. S. Mill in his essay on Liberty.
CHAPTER III.
THE RULE OF THE GREATEST.
§ 1. In the entire range of art principles, none perhaps present a difficulty so great to the student, or require from the teacher expression so cautious, and yet so strong, as those which concern the nature and influence of magnitude.