My entire delight was in observing without being myself noticed,— if I could have been invisible, all the better. I was absolutely interested in men and their ways, as I was interested in marmots and chamois, in tomtits and trout. If only they would stay still and let me look at them, and not get into their holes and up their heights! The living inhabitation of the world — the grazing and nesting in it, — the spiritual power of the air, the rocks, the waters, to be in the midst of it, and rejoice and wonder at it, and help it if I could, — happier if it needed no help of mine, — this was the essential love of Nature in me, this the root of all that I have usefully become, and the light of all that I have rightly learned.

Of all the bête, clumsy, blundering, boggling, baboon-blooded stuff I ever saw on a human stage, that thing last night beat — as far as the acting and story went — and of all the affected, sapless, soulless, beginningless, endless, topless, bottomless, topsiturviest, tuneless and scrannelpipiest — tongs and boniest — doggerel of sounds I ever endured the deadliness of, that eternity of nothing was the deadliest, so far as the sound went. I never was so relieved, so far as I can remember in my life, by the stopping of any sound — not excepting railway whistles — as I was by the cessation of the cobbler’s bellowing.

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Great nations write their autobiographies in three manuscripts—the book of their deeds, the book of their words, and the book of their art. Not one of these books can be understood unless we read the two others; but of the three, the only quite trustworthy one is the last. The acts of a nation may be triumphant by its good fortune; and its words mighty by the genius of a few of its children: but its art, only by the general gifts and common sympathies of the race.

For when we are interested in the beauty of a thing, the oftener we can see it the better; but when we are interested only by the story of a thing, we get tired of hearing the same tale told over and over again, and stopping always at the same point — we want a new story presently, a newer and better one — and the picture of the day, and novel of the day, become as ephemeral as the coiffure or the bonnet of the day. Now this spirit is wholly adverse to the existence of any lovely art. If you mean to throw it aside to-morrow, you can never have it to-day.

There is but one question ultimately to be asked respecting every line you draw, Is it right or wrong? If right, it most assuredly is not a "free" line, but an intensely continent, restrained and considered line; and the action of the hand in laying it is just as decisive, and just as "free" as the hand of a first-rate surgeon in a critical incision.

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The zealous care with which J. M. W. Turner endeavoured to do his duty, is proved by a large existing series of drawings, exquisitely tinted, and often completely coloured, all by his own hand, of the most difficult perspective subjects—illustrating not only directions of line, but effects of light - with a care and completion which would put the work of any ordinary teacher to utter shame. In teaching generally — he would neither waste time nor spare it - he would look over a student's drawing at the Academy, point to a defective part, make a scratch on the paper at the side, say nothing. If the student saw what was wanted, and did it, Turner was delighted; but if the student could not follow. Turner left him.