Modern Painters Volume I Part 31

FOOTNOTES

[53] One of the most genuine Claudes I know.

[54] Compare Part III. Sect. I. Chap. 9, -- 5.

[55] I hear of some study of Alpine scenery among the professors at Geneva; but all foreign landscape that I have ever met with has been so utterly ignorant that I hope for nothing except from our own painters.

CHAPTER III.

OF THE INFERIOR MOUNTAINS.

-- 1. The inferior mountains are distinguished from the central by being divided into beds.

We have next to investigate the character of those intermediate ma.s.ses which const.i.tute the greater part of all hill scenery, forming the outworks of the high ranges, and being almost the sole const.i.tuents of such lower groups as those of c.u.mberland, Scotland, or South Italy.

All mountains whatsoever, not composed of the granite or gneiss rocks described in the preceding chapter, nor volcanic, (these latter being comparatively rare,) are composed of _beds_, not of h.o.m.ogeneous, heaped materials, but of acc.u.mulated layers, whether of rock or soil. It may be slate, sandstone, limestone, gravel, or clay; but whatever the substance, it is laid in layers, not in a ma.s.s. These layers are scarcely ever horizontal, and may slope to any degree, often occurring vertical, the boldness of the hill outline commonly depending in a great degree on their inclination. In consequence of this division into beds, every mountain will have two great sets of lines more or less prevailing in its contours--one indicative of the surfaces of the beds, where they come out from under each other--and the other indicative of the extremities or edges of the beds, where their continuity has been interrupted. And these two great sets of lines will commonly be at right angles with each other, or nearly so. If the surface of the bed approach a horizontal line, its termination will approach the vertical, and this is the most usual and ordinary way in which a precipice is produced.

-- 2. Farther division of these beds by joints.

Farther, in almost all rocks there is a third division of substance, which gives to their beds a tendency to split transversely in some directions rather than others, giving rise to what geologists call "joints," and throwing the whole rock into blocks more or less rhomboidal; so that the beds are not terminated by torn or ragged edges, but by faces comparatively smooth and even, usually inclined to each other at some definite angle. The whole arrangement may be tolerably represented by the bricks of a wall, whose tiers may be considered as strata, and whose sides and extremities will represent the joints by which those strata are divided, varying, however, their direction in different rocks, and in the same rock under differing circ.u.mstances.

-- 3. And by lines of lamination.

Finally, in the slates, grauwackes, and some calcareous beds, in the greater number, indeed, of _mountain_ rocks, we find another most conspicuous feature of general structure--the lines of lamination, which divide the whole rock into an infinite number of delicate plates or layers, sometimes parallel to the direction or "strike" of the strata, oftener obliquely crossing it, and sometimes, apparently, altogether independent of it, maintaining a consistent and unvarying slope through a series of beds contorted and undulating in every conceivable direction. These lines of lamination extend their influence to the smallest fragment, causing it (as, for example, common roofing slate) to break smooth in one direction, and with a ragged edge in another, and marking the faces of the beds and joints with distinct and numberless lines, commonly far more conspicuous in a near view than the larger and more important divisions.

-- 4. Variety and seeming uncertainty under which these laws are manifested.

Now, it cannot be too carefully held in mind, in examining the principles of mountain structure, that nearly all the laws of nature with respect to external form are rather universal tendencies, evidenced by a plurality of instances, than imperative necessities complied with by all. For instance, it may be said to be a universal law with respect to the boughs of all trees that they incline their extremities more to the ground in proportion as they are lower on the trunk, and that the higher their point of insertion is, the more they share in the upward tendency of the trunk itself. But yet there is not a single group of boughs in any one tree which does not show exceptions to the rule, and present boughs lower in insertion, and yet steeper in inclination, than their neighbors. Nor is this defect or deformity, but the result of the constant habit of nature to carry variety into her very principles, and make the symmetry and beauty of her laws the more felt by the grace and accidentalism with which they are carried out. No one familiar with foliage could doubt for an instant of the necessity of giving evidence of this downward tendency in the boughs; but it would be nearly as great an offence against truth to make the law hold good with every individual branch, as not to exhibit its influence on the majority. Now, though the laws of mountain form are more rigid and constant than those of vegetation, they are subject to the same species of exception in carrying out. Though every mountain has these great tendencies in its lines, not one in a thousand of those lines is absolutely consistent with and obedient to this universal tendency. There are lines in every direction, and of almost every kind, but the sum and aggregate of those lines will invariably indicate the _universal_ force and influence to which they are all subjected; and of these lines there will, I repeat, be two princ.i.p.al sets or cla.s.ses, pretty nearly at right angles with each other. When both are inclined, they give rise to peaks or ridges; when one is nearly horizontal and the other vertical, to table-lands and precipices.

This then is the broad organization of all hills, modified afterwards by time and weather, concealed by superinc.u.mbent soil and vegetation, and ramified into minor and more delicate details in a way presently to be considered, but nevertheless universal in its great first influence, and giving to all mountains a particular cast and inclination; like the exertion of voluntary power in a definite direction, an internal spirit, manifesting itself in every crag, and breathing in every slope, flinging and forcing the mighty ma.s.s towards the heaven with an expression and an energy like that of life.

-- 5. The perfect expression of them in Turner's Loch Coriskin.

Now, as in the case of the structure of the central peaks described above, so also here, if I had to give a clear idea of this organization of the lower hills, where it is seen in its greatest perfection, with a mere view to geological truth, I should not refer to any geological drawings, but I should take the Loch Coriskin of Turner. It has luckily been admirably engraved, and for all purposes of reasoning or form, is nearly as effective in the print as in the drawing. Looking at any group of the mult.i.tudinous lines which make up this ma.s.s of mountain, they appear to be running anywhere and everywhere; there are none parallel to each other, none resembling each other for a moment; yet the whole ma.s.s is felt at once to be composed with the most rigid parallelism, the surfaces of the beds towards the left, their edges or escarpments towards the right. In the centre, near the top of the ridge, the edge of a bed is beautifully defined, casting its shadow on the surface of the one beneath it; this shadow marking by three jags the chasms caused in the inferior one by three of its parallel joints. Every peak in the distance is evidently subject to the same great influence, and the evidence is completed by the flatness and evenness of the steep surfaces of the beds which rise out of the lake on the extreme right, parallel with those in the centre.

-- 6. Glencoe and other works.

-- 7. Especially the Mount Lebanon.

Turn to Glencoe, in the same series (the Ill.u.s.trations to Scott). We have in the ma.s.s of mountain on the left, the most beautiful indication of vertical beds of a finely laminated rock, terminated by even joints towards the precipice; while the whole sweep of the landscape, as far as the most distant peaks, is evidently governed by one great and simple tendency upwards to the left, those most distant peaks themselves lying over one another in the same direction. In the Daphne hunting with Leucippus, the mountains on the left descend in two precipices to the plain, each of which is formed by a vast escarpment of the beds whose upper surfaces are shown between the two cliffs, sinking with an even slope from the summit of the lowest to the base of the highest, under which they evidently descend, being exposed in this manner for a length of five or six miles. The same structure is shown, though with more complicated development, on the left of the Loch Katrine. But perhaps the finest instance, or at least the most marked of all, will be found in the exquisite Mount Lebanon, with the convent of St. Antonio, engraved in Finden's Bible. There is not one shade nor touch on the rock which is not indicative of the lines of stratification; and every fracture is marked with a straightforward simplicity which makes you feel that the artist has nothing in his heart but a keen love of the pure unmodified truth; there is no effort to disguise the repet.i.tion of forms, no apparent aim at artificial arrangement or scientific grouping; the rocks are laid one above another with unhesitating decision; every shade is understood in a moment, felt as a dark side, or a shadow, or a fissure, and you may step from one block or bed to another until you reach the mountain summit. And yet, though there seems no effort to disguise the repet.i.tion of forms, see how it _is_ disguised, just as nature would have done it, by the perpetual play and changefulness of the very lines which appear so parallel; now bending a little up, or down, or losing themselves, or running into each other, the old story over and over again,--infinity. For here is still the great distinction between Turner's work and that of a common artist. Hundreds could have given the parallelism of blocks, but none but himself could have done so without the actual repet.i.tion of a single line or feature.

-- 8. Compared with the work of Salvator;

Now compare with this the second mountain from the left in the picture of Salvator, No. 220 in the Dulwich Gallery. The whole is first laid in with a very delicate and masterly gray, right in tone, agreeable in color, quite un.o.bjectionable for a beginning. But how is this made into rock? On the light side Salvator gives us a mult.i.tude of touches, all exactly like one another, and therefore, it is to be hoped, quite patterns of perfection in rock-drawing, since they are too good to be even varied. Every touch is a dash of the brush, as nearly as possible in the shape of a comma, round and bright at the top, convex on its right side, concave on its left, and melting off at the bottom into the gray. These are laid in confusion one above another, some paler, some brighter, some scarcely discernible, but all alike in shape. Now, I am not aware myself of any particular object, either in earth or heaven, which these said touches do at all resemble or portray. I do not, however, a.s.sert that they may not resemble something--feathers, perhaps; but I do say, and say with perfect confidence, that they may be Chinese for rocks, or Sanscrit for rocks, or symbolical of rocks in some mysterious and undeveloped character; but that they are no more _like_ rocks than the brush that made them. The dark sides appear to embrace and overhang the lights; they cast no shadows, are broken by no fissures, and furnish, as food for contemplation, nothing but a series of concave curves.

-- 9. And of Poussin.

Yet if we go on to No. 269, we shall find something a great deal worse.

I can believe Gaspar Poussin capable of committing as much sin against nature as most people; but I certainly do not suspect him of having had any hand in this thing, at least after he was ten years old.

Nevertheless, it shows what he is supposed capable of by his admirers, and will serve for a broad ill.u.s.tration of all those absurdities which he himself in a less degree, and with feeling and thought to atone for them, perpetually commits. Take the white bit of rock on the opposite side of the river, just above the right arm of the Niobe, and tell me of what the square green daubs of the brush at its base can be conjectured to be typical. Rocks with pale-brown light sides, and rich green dark sides, are a phenomenon perhaps occurring in some of the improved pa.s.sages of nature among our c.u.mberland lakes; where I remember once having seen a bed of roses, of peculiar magnificence, tastefully and artistically a.s.sisted in effect by the rocks above it being painted pink to match; but I do not think that they are a kind of thing which the clumsiness and false taste of nature can be supposed frequently to produce; even granting that these same sweeps of the brush could, by any exercise of the imagination, be conceived representative of a dark, or any other side, which is far more than I am inclined to grant; seeing that there is no east shadow, no appearance of reflected light, of substance, or of character on the edge; nothing, in short, but pure, staring green paint, scratched heavily on a white ground. Nor is there a touch in the picture more expressive. All are the mere dragging of the brush here and there and everywhere, without meaning or intention; winding, twisting, zigzagging, doing anything in fact which may serve to break up the light and destroy its breadth, without bestowing in return one hint or shadow of anything like form. This picture is, indeed, an extraordinary case, but the Salvator above mentioned is a characteristic and exceedingly favorable example of the usual mode of mountain drawing among the old landscape painters.[56] Their admirers may be challenged to bring forward a single instance of their expressing, or even appearing to have noted, the great laws of structure above explained.

Their hills are, without exception, irregular earthy heaps, without energy or direction of any kind, marked with shapeless shadows and meaningless lines; sometimes, indeed, where great sublimity has been aimed at, approximating to the pure and exalted ideal of rocks, which, in the most artistical specimens of China cups and plates, we see suspended from aerial paG.o.das, or balanced upon peac.o.c.ks' tails, but never warranting even the wildest theorist in the conjecture that their perpetrators had ever seen a mountain in their lives. Let us, however, look farther into the modifications of character by which nature conceals the regularity of her first plan; for although all mountains are organized as we have seen, their organization is always modified, and often nearly concealed, by changes wrought upon them by external influence.

-- 10. Effects of external influence on mountain form.

We ought, when speaking of their stratification, to have noticed another great law, which must, however, be understood with greater lat.i.tude of application than any of the others, as very far from imperative or constant in particular cases, though universal in its influence on the aggregate of all. It is that the lines by which rocks are terminated, are always steeper and more inclined to the vertical as we approach the summit of the mountain. Thousands of cases are to be found in every group, of rocks and lines horizontal at the top of the mountain and vertical at the bottom; but they are still the exceptions, and the average out of a given number of lines in any rock formation whatsoever, will be found increasing in perpendicularity as they rise. Consequently the great skeleton lines of rock outline are always concave; that is to say, all distant ranges of rocky mountain approximate more or less to a series of concave curves, meeting in peaks, like a range of posts with chains hanging between. I do not say that convex forms will not perpetually occur, but that the tendency of the majority will always be to a.s.sume the form of sweeping, curved valleys, with angular peaks; not of rounded convex summits, with angular valleys. This structure is admirably exemplified in the second vignette in Rogers's Italy, and in Piacenza.

-- 11. The gentle convexity caused by aqueous erosion.

But although this is the primary form of all hills, and that which will always cut against the sky in every distant range, there are two great influences whose tendency is directly the reverse, and which modify, to a great degree, both the evidences of stratification and this external form. These are aqueous erosion and disintegration. The latter only is to be taken into consideration when we have to do with minor features of crag; but the former is a force in constant action--of the very utmost importance--a force to which one-half of the great outlines of all mountains is entirely owing, and which has much influence upon every one of their details.

Now the tendency of aqueous action over a large elevated surface is _always_ to make that surface symmetrically and evenly convex and dome-like, sloping gradually more and more as it descends, until it reaches an inclination of about 40, at which slope it will descend perfectly straight to the valley; for at that slope the soil washed from above will acc.u.mulate upon the hill-side, as it cannot lie in steeper beds. This influence, then, is exercised more or less on all mountains, with greater or less effect in proportion as the rock is harder or softer, more or less liable to decomposition, more or less recent in date of elevation, and more or less characteristic in its original forms; but it universally induces, in the lower parts of mountains, a series of the most exquisitely symmetrical convex curves, terminating, as they descend to the valley, in uniform and uninterrupted slopes; this symmetrical structure being perpetually interrupted by cliffs and projecting ma.s.ses, which give evidence of the interior parallelism of the mountain anatomy, but which interrupt the convex forms more frequently by rising out of them, than by indentation.

-- 12. And the effect of the action of torrents.

There remains but one fact more to be noticed. All mountains, in some degree, but especially those which are composed of soft or decomposing substance, are delicately and symmetrically furrowed by the descent of streams. The traces of their action commence at the very summits, fine threads, and mult.i.tudinous, like the uppermost branches of a delicate tree. They unite in groups as they descend, concentrating gradually into dark undulating ravines, into which the body of the mountain descends on each side, at first in a convex curve, but at the bottom with the same uniform slope on each side which it a.s.sumes in its final descent to the plain, unless the rock be very hard, when the stream will cut itself a vertical chasm at the bottom of the curves, and there will be no even slope.[57] If, on the other hand, the rock be very soft, the slopes will increase rapidly in height and depth from day to day; washed away at the bottom and crumbling at the top, until, by their reaching the summit of the ma.s.ses of rock which separate the active torrents, the whole mountain is divided into a series of penthouse-like ridges, all guiding to its summit, and becoming steeper and narrower as they ascend; these in their turn being divided by similar, but smaller ravines--caused in the same manner--into the same kind of ridges; and these again by another series, the arrangement being carried finer and farther according to the softness of the rock. The south side of Saddleback, in c.u.mberland, is a characteristic example; and the Montagne du Tacondy, in Chamonix, a n.o.ble instance of one of these ridges or b.u.t.tresses, with all its subdivisions, on a colossal scale.

-- 13. The exceeding simplicity of contour caused by these influences.

-- 14. And multiplicity of feature.

Now we wish to draw especial attention to the broad and bold simplicity of ma.s.s, and the excessive complication of details, which influences like these, acting on an enormous scale, must inevitably produce in all mountain groups; because each individual part and promontory, being compelled to a.s.sume the same symmetrical curves as its neighbors, and to descend at precisely the same slope to the valley, falls in with their prevailing lines, and becomes a part of a great and harmonious whole, instead of an unconnected and discordant individual. It is true that each of these members has its own touches of specific character, its own projecting crags and peculiar hollows; but by far the greater portion of its lines will be such as unite with, though they do not repeat, those of its neighbors, and carry out the evidence of one great influence and spirit to the limits of the scene. This effort is farther aided by the original unity and connection of the rocks themselves, which though it often may be violently interrupted, is never without evidence of existence; for the very interruption itself forces the eye to feel that there is something to be interrupted, a sympathy and similarity of lines and fractures, which, however full of variety and change of direction, never lose the appearance of symmetry of one kind or another.

But, on the other hand, it is to be remembered that these great sympathizing ma.s.ses are not one mountain, but a thousand mountains; that they are originally composed of a mult.i.tude of separate eminences, hewn and chiselled indeed into a.s.sociating form, but each retaining still its marked points and features of character,--that each of these individual members has, by the very process which a.s.similated it to the rest, been divided and subdivided into equally mult.i.tudinous groups of minor mountains; finally, that the whole complicated system is interrupted forever and ever by daring manifestations of the inward mountain will--by the precipice which has submitted to no modulation of the torrent, and the peak which has bowed itself to no terror of the storm.

Hence we see that the same imperative laws which require perfect simplicity of ma.s.s, require infinite and termless complication of detail,--that there will not be an inch nor a hairbreadth of the gigantic heap which has not its touch of separate character, its own peculiar curve, stealing out for an instant and then melting into the common line; felt for a moment by the blue mist of the hollow beyond, then lost when it crosses the enlightened slope,--that all this multiplicity will be grouped into larger divisions, each felt by their increasing aerial perspective, and their instants of individual form, these into larger, and these into larger still, until all are merged in the great impression and prevailing energy of the two or three vast dynasties which divide the kingdom of the scene.

-- 15. Both utterly neglected in ancient art.

There is no vestige nor shadow of approach to such treatment as this in the whole compa.s.s of ancient art. Whoever the master, his hills, wherever he has attempted them, have not the slightest trace of a.s.sociation or connection; they are separate, conflicting, confused, petty and paltry heaps of earth; there is no marking of distances or divisions in their body; they may have holes in them, but no valleys,--protuberances and excrescences, but no parts; and in consequence are invariably diminutive and contemptible in their whole appearance and impression.

-- 16. The fidelity of treatment in Turner's Daphne and Leucippas.

But look at the ma.s.s of mountain on the right in Turner's Daphne hunting with Leucippus. It is simple, broad, and united as one surge of a swelling sea; it rises in an unbroken line along the valley, and lifts its promontories with an equal slope. But it contains in its body ten thousand hills. There is not a quarter of an inch of its surface without its suggestion of increasing distance and individual form. First, on the right, you have a range of tower-like precipices, the clinging wood climbing along their ledges and cresting their summits, white waterfalls gleaming through its leaves; not, as in Claude's scientific ideals, poured in vast torrents over the top, and carefully keeping all the way down on the most projecting parts of the sides; but stealing down, traced from point to point, through shadow after shadow, by their evanescent foam and flashing light,--here a wreath, and there a ray,--through the deep chasms and hollow ravines, out of which rise the soft rounded slopes of mightier mountain, surge beyond surge, immense and numberless, of delicate and gradual curve, acc.u.mulating in the sky until their garment of forest is exchanged for the shadowy fold of slumbrous morning cloud, above which the utmost silver peak shines islanded and alone. Put what mountain painting you will beside this, of any other artist, and its heights will look like mole-hills in comparison, because it will not have the unity nor the multiplicity which are in nature, and with Turner, the signs of size.