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Rustem now hastened forward to encounter the White Demon. Advancing to the cavern, he looked down And saw a gloomy place, dismal as hell; But not one cursed, impious sorcerer Was visible in that infernal depth. Awhile he stood his falchion in his grasp, And rubbed his eyes to sharpen his dim sight, And then a mountain-form, covered with hair, Filling up all the space, rose into view.
For a gift to his son he bought "The Slave Ship," one of Turner's latest and most disputed works; and he was all eagerness to see the next volume in preparation. It was intended to carry on the discussion of "Truth," with further illustrations of mountain-form, trees and skies. And so in May, 1844, they all went away again, that the artist-author might prepare drawings for his plates.
The studies of mountain-form and Italian design, in the year before, had given him a greater interest in the "Liber Studiorum," Turner's early book of Essays in Composition.
The patient attempt to copy mountain-form had made him sensitive to harmony of line; and in the great composers of Florence and Venice he found a quality of abstract design which tallied with his experience of what was beautiful in Nature.
He was not unadventurous in his scramblings, but with no ambition to get to the top of everything. He wanted to observe the aspects of mountain-form; and his careful outlines, slightly coloured, as his manner then was, and never aiming at picturesque treatment, record the structure of the rocks and the state of the snow with more than photographic accuracy.
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