In the drawings of Piranesi, in the pictures of Rembrandt, one sees this grand language exhibited more truly.

It is not picture, but certain primitive and leading effects of light and shadow, or lines and contours, that captivate the attention.

I saw a picture of Rembrandt's at the Louvre, whose subject I do not know and have never cared to inquire.

I cannot analyze the group, but I understand and feel the thought it embodies.

At something similar Turner seems aiming; an aim so opposed to the practical and outward tendency of the English mind, that, as a matter of course, the majority find themselves mystified, and thereby angered, but for the same reason answering to so deep and seldom satisfied a want in the minds of the minority, as to secure the most ardent sympathy where any at all can be elicited.
Upon this topic of the primitive forms and operations of nature, I am reminded of something interesting I was looking at yesterday.