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Marketing: An Introduction, 6e (Armstrong et al.)
Chapter 8 Developing and Managing Products and Services

1) A ________ is defined as anything that can be offered to a market for attention, acquisition,
use, or consumption that might satisfy a want or need.
A) private brand
B) service variability
C) service
D) product
E) service encounter
Answer: D
Diff: 1 Type: MC Page Ref: 278
Skill: Concept
Objective: 8-1

2) ________ are a form of product that consists of activities, benefits, or satisfactions offered for
sale that are essentially intangible and do not result in the ownership of anything.
A) Line extensions
B) Services
C) Brands
D) Consumer products
E) Supplements
Answer: B
Diff: 1 Type: MC Page Ref: 278
Skill: Concept
Objective: 8-1

3) Product is a key element in a company's ________, which may, at one extreme, consist of
pure tangible goods or, at the other extreme, pure services.
A) market offering
B) brand equity
C) brand extension
D) co-branding
E) core customer value
Answer: A
Diff: 1 Type: MC Page Ref: 278
Skill: Concept
Objective: 8-1

1
Copyright © 2017 Pearson Canada Inc.
4) To differentiate themselves, many companies go beyond offering products and services; they
are also developing and delivering customer ________.
A) feedback
B) experiences
C) brands
D) product lines
E) events
Answer: B
Diff: 2 Type: MC Page Ref: 278
Skill: Concept
Objective: 8-1

5) Product planners consider products and services on three levels. The most basic level is the
________, which addresses the question, "What is the buyer really buying?"
A) actual product
B) augmented product
C) core customer value
D) co-branding
E) exchange
Answer: C
Diff: 2 Type: MC Page Ref: 279
Skill: Concept
Objective: 8-1

6) The third level of a product that product planners consider is a(n) ________ around the core
benefit and actual product that offers additional consumer services and benefits.
A) augmented product
B) brand equity
C) brand extension
D) industrial product
E) image
Answer: A
Diff: 2 Type: MC Page Ref: 279-280
Skill: Concept
Objective: 8-1

7) Product planners must design the actual product and also find ways to ________ it in order to
create the bundle of benefits that will create the most customer value.
A) promote
B) package
C) brand
D) augment
E) present
Answer: D
Diff: 2 Type: MC Page Ref: 280
Skill: Concept
Objective: 8-1
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Copyright © 2017 Pearson Canada Inc.
8) Products and services fall into two broad classifications based on the types of consumers that
use them. Which of the following is one of these broad classes?
A) industrial products
B) specialty products
C) supplies and services
D) materials and parts
E) convenience products
Answer: A
Diff: 2 Type: MC Page Ref: 280
Skill: Concept
Objective: 8-1

9) ________ are products and services bought by final consumers for personal consumption.
These include convenience products, shopping products, specialty products, and unsought
products.
A) Services
B) Consumer products
C) Line extensions
D) Industrial products
E) Straight extensions
Answer: B
Diff: 1 Type: MC Page Ref: 280
Skill: Concept
Objective: 8-1

10) ________ are less frequently purchased consumer products and services that customers
compare carefully on suitability, quality, price, and style. Consumers spend much time and effort
in gathering information and making comparisons about these products.
A) Shopping products
B) Convenience products
C) Unsought products
D) Industrial products
E) Line extensions
Answer: A
Diff: 1 Type: MC Page Ref: 280
Skill: Concept
Objective: 8-1

3
Copyright © 2017 Pearson Canada Inc.
11) ________ are consumer products and services with unique characteristics or brand
identification for which a significant group of buyers is willing to make a special purchase effort.
A) Shopping products
B) Unsought products
C) Specialty products
D) Industrial products
E) Line extensions
Answer: C
Diff: 1 Type: MC Page Ref: 280
Skill: Concept
Objective: 8-1

12) ________ are consumer products that the consumer either does not know about or knows
about but does not normally think about buying. These products require a lot of advertising,
personal selling, and other marketing efforts.
A) Specialty products
B) Line extensions
C) Unsought products
D) Shopping products
E) Convenience products
Answer: C
Diff: 1 Type: MC Page Ref: 281
Skill: Concept
Objective: 8-1

13) ________ are those products purchased for further processing or for use in conducting a
business.
A) Unsought products
B) Specialty products
C) Shopping products
D) Industrial products
E) Accessories
Answer: D
Diff: 1 Type: MC Page Ref: 282
Skill: Concept
Objective: 8-1

14) Most manufactured materials and parts are sold directly to ________ for further processing.
A) consumers
B) industrial users
C) government buyers
D) co-branders
E) wholesalers
Answer: B
Diff: 2 Type: MC Page Ref: 282
Skill: Concept
Objective: 8-1
4
Copyright © 2017 Pearson Canada Inc.
15) ________ are industrial products that aid in the buyer's production or operations, including
installations and accessory equipment.
A) Materials
B) Parts
C) Capital items
D) Specialty items
E) Supplies
Answer: C
Diff: 2 Type: MC Page Ref: 282
Skill: Concept
Objective: 8-1

16) What are the two ways that a company can obtain new products?
A) line extension and brand management
B) internal development and merger
C) new-product development and acquisition
D) service development and product extension
E) market mix modification and research and development
Answer: C
Diff: 2 Type: MC Page Ref: 283
Skill: Concept
Objective: 8-2

17) Product improvements and product modifications and new brands can all be classified as
________.
A) pioneer products
B) new products
C) product concepts
D) product ideas
E) test products
Answer: B
Diff: 1 Type: MC Page Ref: 283
Skill: Concept
Objective: 8-2

18) The creation of a successful new product depends on a company's understanding of its
________ and its ability to deliver ________ to customers.
A) competitors, distributors, and employees; new styles
B) customers, brands, products; product images
C) customers, competitors, and markets; superior value
D) product, marketing mix, and marketing strategy; functional features
E) product life cycle, legal responsibilities, and social responsibilities; innovations
Answer: C
Diff: 2 Type: MC Page Ref: 285-286
Skill: Concept
Objective: 8-2
5
Copyright © 2017 Pearson Canada Inc.
19) New product development starts with ________.
A) idea generation
B) idea screening
C) concept development
D) concept testing
E) test marketing
Answer: A
Diff: 1 Type: MC Page Ref: 286
Skill: Concept
Objective: 8-2

20) What are two major sources of new-product ideas?

A) internal sources and external sources
B) core-member sources and non-core-member sources
C) government sources and non-government sources
D) direct competitor sources and indirect competitor sources
E) distributor sources and non-distributor sources
Answer: A
Diff: 2 Type: MC Page Ref: 286
Skill: Concept
Objective: 8-2

21) Your company decides to use external sources for developing new product ideas. Which of
the following would be consulted?
A) company executives and professionals
B) company records and data
C) intrapreneurial programs
D) suppliers
E) salespeople
Answer: D
Diff: 2 Type: MC Page Ref: 286
Skill: Concept
Objective: 8-2

22) According to your text, which of the following is perhaps the most important external source
of new-product ideas?
A) engineers
B) customers
C) competitors
D) trade magazines, shows, and seminars
E) distributors and suppliers
Answer: B
Diff: 2 Type: MC Page Ref: 286
Skill: Concept
Objective: 8-2

6
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23) A new approach to idea generation invites broad communities of internal and external people
into the new product innovation process. This approach is called ________.
A) crowdsourcing
B) concept development
C) competitive intelligence
D) soliciting new users
E) marketing research
Answer: A
Diff: 1 Type: MC Page Ref: 286
Skill: Concept
Objective: 8-2

24) The purpose of idea generation is to create a ________ of ideas. The purpose of succeeding
stages is to ________ that number.
A) small number; reduce
B) small number; increase
C) large number; increase
D) large number; reduce
E) limited number; sustain
Answer: D
Diff: 2 Type: MC Page Ref: 289
Skill: Concept
Objective: 8-2

25) During the ________ stage of the new-product development process, helps spot good ideas
and eliminate poor ones.
A) idea generation
B) idea screening
C) concept testing
D) product development
E) commercialization
Answer: B
Diff: 2 Type: MC Page Ref: 289
Skill: Concept
Objective: 8-2

7
Copyright © 2017 Pearson Canada Inc.
26) GrayBerry Gifts has just brainstormed a large number of ideas for adding new products and
services after visiting several buying fairs. The owners will begin the first idea-reducing stage,
called ________, to arrive at a realistic number to adopt.
A) idea generation
B) idea screening
C) concept testing
D) concept development
E) business analysis
Answer: B
Diff: 2 Type: MC Page Ref: 289
Skill: Concept
Objective: 8-2

27) Which of the following is most likely to be included in an executive's write up of a new-
product idea to be presented to a new-product committee?
A) the proposed customer value proposition
B) the product image
C) the marketing strategy
D) the business analysis
E) the planned market rollout
Answer: A
Diff: 2 Type: MC Page Ref: 289
Skill: Concept
Objective: 8-2

28) A detailed version of a new idea stated in meaningful customer terms is called a ________.
A) product idea
B) product concept
C) product image
D) product proposal
E) product movement
Answer: B
Diff: 2 Type: MC Page Ref: 289
Skill: Concept
Objective: 8-2

29) An attractive idea must be developed into a ________.

A) product idea
B) product concept
C) product image
D) test market
E) product strategy
Answer: B
Diff: 2 Type: MC Page Ref: 289
Skill: Concept
Objective: 8-2

8
Copyright © 2017 Pearson Canada Inc.
30) ________ calls for testing new-product concepts with groups of target consumers.
A) Concept development
B) Concept testing
C) Idea generation
D) Idea screening
E) Test marketing
Answer: B
Diff: 1 Type: MC Page Ref: 289
Skill: Concept
Objective: 8-2

31) In the concept testing stage of new-product development, ________ form(s) of the product
concept is presented to groups of target consumers.
A) physical
B) conceptual
C) final
D) market-tested
E) alternative
Answer: E
Diff: 2 Type: MC Page Ref: 289
Skill: Concept
Objective: 8-2

32) With what groups do firms conduct concept testing for new products?
A) suppliers
B) employees
C) potential consumers
D) manufacturers
E) competitors
Answer: C
Diff: 2 Type: MC Page Ref: 289
Skill: Concept
Objective: 8-2

33) A ________ is a detailed description, drawing, or prototype of that idea that can be shown to
potential customers.
A) concept test
B) product concept
C) marketing strategy
D) product development
E) business analysis
Answer: B
Diff: 2 Type: MC Page Ref: 289
Skill: Concept
Objective: 8-2

9
Copyright © 2017 Pearson Canada Inc.
34) After concept testing, a firm would engage in which stage in developing and marketing a
new product?
A) idea screening
B) marketing strategy development
C) business analysis
D) product development
E) test marketing
Answer: B
Diff: 2 Type: MC Page Ref: 289-290
Skill: Concept
Objective: 8-2

35) The marketing strategy statement describes the target market; the planned product
positioning; and goals for sales, profits, and ________.
A) market share
B) competition
C) secondary market
D) competition's anticipated reaction
E) life-cycle duration
Answer: A
Diff: 2 Type: MC Page Ref: 290
Skill: Concept
Objective: 8-2

36) Typically, the initial marketing strategy outlines the sales goals, market share goals, and
________ goals for the first year.
A) advertising
B) promotion
C) profit
D) positioning
E) target market
Answer: C
Diff: 3 Type: MC Page Ref: 290
Skill: Concept
Objective: 8-2

37) According to the authors, the marketing strategy for a new product typically excludes
________.
A) identification of the target market
B) positioning of the new product relative to competing products
C) promotions and advertising expenditures
D) information on dealing with defective products
E) sales goals
Answer: D
Diff: 3 Type: MC Page Ref: 290
Skill: Concept
Objective: 8-2
10
Copyright © 2017 Pearson Canada Inc.
38) A review of the sales, costs, and profit projections for a new product to find out whether they
satisfy the company's objectives is called a ________.
A) business feasibility plan
B) market strategy development
C) business analysis
D) product acceptance
E) proposal
Answer: C
Diff: 1 Type: MC Page Ref: 290
Skill: Concept
Objective: 8-2

39) During which stage of new-product development will management most likely estimate
minimum and maximum sales to assess the range of risk in launching a new product?
A) concept testing
B) marketing strategy development
C) business analysis
D) product development
E) test marketing
Answer: C
Diff: 2 Type: MC Page Ref: 290
Skill: Concept
Objective: 8-2

40) Once managers of The Grecian Urn have decided on their product concept and marketing
strategy, they can evaluate the business attractiveness of the proposal in the ________ stage of
the new-product development process.
A) business feasibility
B) feasibility study
C) business analysis
D) product acceptance
E) concept testing
Answer: C
Diff: 2 Type: MC Page Ref: 290
Skill: Concept
Objective: 8-2

11
Copyright © 2017 Pearson Canada Inc.
41) New World Releases is conducting a business analysis to determine which of the many new
songs available to management should be released. Sales must be estimated before costs can be
estimated. Which of the following did your text recommend for forecasting sales?
A) considering the history of market opinions
B) conducting surveys of competitors
C) considering the sales history of similar products and conducting surveys of market opinions
D) applying the PLC concept
E) none of the above
Answer: C
Diff: 3 Type: MC Page Ref: 290
Skill: Concept
Objective: 8-2

42) If the product or service passes the business analysis test, it moves into what stage?
A) concept development
B) product development
C) market testing
D) strategy development
E) product proposal
Answer: B
Diff: 2 Type: MC Page Ref: 290
Skill: Concept
Objective: 8-2

43) In the ________ stage of new-product development, products undergo rigorous tests to make
sure that they perform safely and effectively.
A) business analysis
B) idea generation
C) concept development and testing
D) product development
E) marketing mix
Answer: D
Diff: 2 Type: MC Page Ref: 290
Skill: Concept
Objective: 8-2

44) Once the prototype of Wainwright Industries' new riding lawnmower, made especially for
women, passes product tests, the next step is ________.
A) test marketing
B) focus group surveys
C) commercialization
D) post-testing
E) business analysis
Answer: A
Diff: 2 Type: MC Page Ref: 290
Skill: Concept
Objective: 8-2
12
Copyright © 2017 Pearson Canada Inc.
45) The stage of new-product development where the product and marketing program are tested
in realistic market settings is called ________.
A) idea generation
B) concept testing
C) product concept
D) commercialization
E) test marketing
Answer: E
Diff: 2 Type: MC Page Ref: 290
Skill: Concept
Objective: 8-2

46) Under what circumstances might it be wise for a company to invest in a test market?
A) when a new product requires a major investment
B) when the product is not working well
C) when management is sure of the marketing program
D) when the product risk is very low
E) when the cost of new-product development is very low
Answer: A
Diff: 2 Type: MC Page Ref: 291
Skill: Concept
Objective: 8-2

47) According to the authors, when does a company typically invest in test marketing?
A) before the full product introduction
B) at idea generation time
C) before the product concept
D) after meeting with a stockholder
E) after a logistics discussion with suppliers
Answer: A
Diff: 2 Type: MC Page Ref: 291
Skill: Concept
Objective: 8-2

48) The major purpose of test marketing is to provide management with the information needed
to make a final decision about ________.
A) how to develop a market strategy
B) which market to compete in
C) whether to launch the new product
D) how to compete in the market
E) how long to compete in the market
Answer: C
Diff: 2 Type: MC Page Ref: 291
Skill: Concept
Objective: 8-2

13
Copyright © 2017 Pearson Canada Inc.
49) Introducing a new product into the market is called ________.
A) test marketing
B) new product development
C) experimenting
D) commercialization
E) marketing development
Answer: D
Diff: 1 Type: MC Page Ref: 291
Skill: Concept
Objective: 8-2

50) What is the final step in the new-product development process?

A) idea generation
B) product concept
C) concept testing
D) prototype
E) commercialization
Answer: E
Diff: 2 Type: MC Page Ref: 291
Skill: Concept
Objective: 8-2

51) According to the authors, managers must accept the ________ of a product.
A) the research team
B) the product life cycle
C) the market segmentation
D) the boss
E) the idea generation
Answer: B
Diff: 3 Type: MC Page Ref: 291
Skill: Concept
Objective: 8-3

52) What are the two main focuses of the product life cycle theory?
A) distributors and suppliers
B) competitors and costs
C) sales and profits
D) profits and target markets
E) target markets and competitors
Answer: C
Diff: 2 Type: MC Page Ref: 291
Skill: Concept
Objective: 8-3

14
Copyright © 2017 Pearson Canada Inc.
53) What are the stages, in correct order, of the product life cycle?
A) Introduction, Maturity, Growth, and Decline
B) Introduction, Growth, Decline, and Maturity
C) Introduction, Growth, Maturity, and Decline
D) Growth, Introduction, Maturity, and Decline
E) Decline, Introduction, Growth, and Maturity
Answer: C
Diff: 2 Type: MC Page Ref: 291
Skill: Concept
Objective: 8-3

54) ________ refers to inviting broad communities of people (such as customers, employees,
independent scientists, and researchers) into the new-product innovation process.
A) Internal teams
B) External teams
C) Crowdsourcing
D) Recruitment
E) Market development
Answer: C
Diff: 1 Type: MC Page Ref: 287
Skill: Concept
Objective: 8-2

55) ________ refers to the identification of good ideas (and the dropping of poor ones) as soon
as possible.
A) Crowdsourcing
B) Idea generation
C) Concept testing
D) Idea screening
E) Concept development
Answer: D
Diff: 2 Type: MC Page Ref: 289
Skill: Concept
Objective: 8-2

56) ________ refers to a detailed version of the new-product idea stated in meaningful consumer
terms.
A) Product generation
B) The product concept
C) Product testing
D) Product commercialization
E) Product crowdsourcing
Answer: B
Diff: 2 Type: MC Page Ref: 289
Skill: Concept
Objective: 8-2

15
Copyright © 2017 Pearson Canada Inc.
57) Which theory suggests that new products sometimes fail because they are unable to cross the
gaps between the different market segments of innovators, early adopters, early majority, and
late majority?
A) idea evaluation theory
B) diffusion of innovations theory
C) idea screening theory
D) life cycle theory
E) data processing theory
Answer: B
Diff: 2 Type: MC Page Ref: 284
Skill: Concept
Objective: 8-2

58) According to the product life cycle theory, the sales of a typical product follow a(n)
________ curve.
A) U-shaped
B) S-shaped
C) L-shaped
D) I-shaped
E) O-shaped
Answer: B
Diff: 2 Type: MC Page Ref: 291
Skill: Concept
Objective: 8-3

59) ________ is the product life cycle period when sales fall off and profits drop.
A) Introduction
B) Growth
C) Maturity
D) Decline
E) Development
Answer: D
Diff: 1 Type: MC Page Ref: 292
Skill: Concept
Objective: 8-3

60) Increasing profits will most likely occur at which stage of the PLC?
A) product development
B) introduction
C) growth
D) maturity
E) decline
Answer: C
Diff: 1 Type: MC Page Ref: 292
Skill: Concept
Objective: 8-3

16
Copyright © 2017 Pearson Canada Inc.
61) In which stage of the typical consumer product life cycle do sales growth level off?
A) product development
B) introduction
C) maturity
D) growth
E) decline
Answer: C
Diff: 2 Type: MC Page Ref: 292
Skill: Concept
Objective: 8-3

62) Some products that have entered the decline stage have been cycled back to the growth stage
through ________.
A) repositioning
B) concept testing
C) business analysis
D) innovation management
E) customer-centered product development
Answer: A
Diff: 2 Type: MC Page Ref: 292
Skill: Concept
Objective: 8-3

63) Which of the following is an accurate description of a style?

A) Styles appear in home, clothing, but seldom in art.
B) Once a style is invented, it will only last for a few months.
C) A style has a cycle showing several periods of renewed interest.
D) Styles tend to attract only a limited following.
E) Styles are complicated modes of expression.
Answer: C
Diff: 2 Type: MC Page Ref: 296
Skill: Concept
Objective: 8-3

64) The ________ is a model that proposes that a "chasm" exists between early adopters of a
product and the early majority.
A) innovation life cycle
B) technology adoption life cycle
C) product life cycle
D) diffusion cycle
E) marketing life cycle
Answer: B
Diff: 3 Type: MC Page Ref: 284
Skill: Concept
Objective: 8-2

17
Copyright © 2017 Pearson Canada Inc.
65) In which stage of the PLC will promotional expenditures be especially high in an attempt to
create consumer awareness?
A) product development
B) introduction
C) growth
D) maturity
E) adoption
Answer: B
Diff: 1 Type: MC Page Ref: 291-292
Skill: Concept
Objective: 8-3

66) In which stage of the PLC would promotional expenditures most likely increase as a
company attempts to react to increasing competition?
A) product development
B) introduction
C) growth
D) maturity
E) decline
Answer: C
Diff: 2 Type: MC Page Ref: 292
Skill: Concept
Objective: 8-3

67) A company wants to sustain this stage as long as possible.

A) growth
B) decline
C) maturity
D) introduction
E) commercialization
Answer: A
Diff: 2 Type: MC Page Ref: 292
Skill: Concept
Objective: 8-3

68) Which stage in the PLC normally lasts longer and poses strong challenges to the marketing
managers?
A) introduction
B) growth
C) maturity
D) decline
E) phase-in
Answer: C
Diff: 2 Type: MC Page Ref: 292
Skill: Concept
Objective: 8-3

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69) Most products in the marketplace are in the ________ stage of the product life cycle.
A) development
B) introduction
C) growth
D) maturity
E) decline
Answer: D
Diff: 2 Type: MC Page Ref: 292
Skill: Concept
Objective: 8-3

70) Which of the following would lead to continued sales in the maturity stage of the PLC?
A) overcapacity of products in the market
B) modifying the marketing mix
C) strong management
D) more promotion
E) more spending
Answer: B
Diff: 3 Type: MC Page Ref: 292
Skill: Concept
Objective: 8-3

71) When a product enters the maturity stage, the company should consider ________.
A) harvesting the product
B) modifying the product, market, or marketing mix
C) divesting the product
D) maintaining the product
E) dropping the product
Answer: B
Diff: 2 Type: MC Page Ref: 292
Skill: Concept
Objective: 8-3

72) Which of the following best represents the options a company has when a product is
declining?
A) maintain, reposition, harvest or drop the product
B) harvest or drop the product
C) maintain, harvest, or drop the product
D) maintain or pioneer the product
E) pioneer, harvest, or maintain the product
Answer: A
Diff: 2 Type: MC Page Ref: 294-295
Skill: Concept
Objective: 8-3

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73) A manufacturer with a product in the decline stage of the product life cycle might decide to
________ if it has reason to hope that competitors will leave the industry.
A) harvest the product
B) maintain the product without change
C) drop the product
D) search for replacements
E) delay planning
Answer: B
Diff: 2 Type: MC Page Ref: 292
Skill: Concept
Objective: 8-3

74) Developing a product involves defining the benefits that it will offer. These benefits are
communicated and delivered by ________ such as quality, features, and style and design.
A) private brands
B) product attributes
C) consumer products
D) product mixes
E) marketing tools
Answer: B
Diff: 3 Type: MC Page Ref: 297
Skill: Concept
Objective: 8-4

75) ________ is one of the marketer's major positioning tools because it has a direct impact on
product or service performance; it is therefore closely linked to customer value and satisfaction.
A) Packaging
B) Product quality
C) Total quality management
D) Specialty marketing
E) Positioning
Answer: B
Diff: 2 Type: MC Page Ref: 297
Skill: Concept
Objective: 8-4

76) In the narrowest sense, quality can be defined as ________.

A) positive post-purchase dissonance
B) brand equity
C) freedom from defects
D) quality assurance
E) customer-centered thinking
Answer: C
Diff: 2 Type: MC Page Ref: 297
Skill: Concept
Objective: 8-4

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77) Which of the following internal professional membership organizations monitor product
quality?
A) Society of Public Company
B) Society of Quality Management
C) Society of Consumer Assurance
D) Society of Quality Assurance
E) Society of Firm Management
Answer: D
Diff: 3 Type: MC Page Ref: 297
Skill: Concept
Objective: 8-4

78) A company can create a competitive product by adding ________.

A) co-brandings
B) product features
C) product quality
D) service variability
E) conformance
Answer: B
Diff: 2 Type: MC Page Ref: 297
Skill: Concept
Objective: 8-4

79) A sensational ________ may grab consumers' attention and produce pleasing aesthetics, but
it does not necessarily improve a product's performance.
A) design
B) style
C) experience
D) service-profit chain
E) augmented product
Answer: B
Diff: 2 Type: MC Page Ref: 298
Skill: Concept
Objective: 8-4

80) A product's ________ contributes to the customer's product-use experience.

A) style
B) design
C) package
D) brand
E) functionality
Answer: B
Diff: 2 Type: MC Page Ref: 298
Skill: Concept
Objective: 8-4

21
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81) In recent years, marketers are concerned about packaging that minimizes environmental,
social and economic impacts. They are developing ________ packaging.
A) branded
B) sustainable
C) bright
D) strong
E) long lasting
Answer: B
Diff: 2 Type: MC Page Ref: 299
Skill: Concept
Objective: 8-4

82) At the very least, the ________ identifies the product or brand. It might also describe several
things about the product and promote the brand.
A) line extension
B) social marketing
C) label
D) specialty product
E) package
Answer: C
Diff: 1 Type: MC Page Ref: 300
Skill: Concept
Objective: 8-4

83) The ________ requires sellers to provide detailed nutritional information on all prepackaged
food products.
A) Fair Packaging and Labeling Act of 1966
B) Consumer Packaging and Labelling Act.
C) Labeling Act of 1970
D) Packaging Act of 1970
E) Federal Trade Commission Act of 1914
Answer: B
Diff: 2 Type: MC Page Ref: 300
Skill: Concept
Objective: 8-4

84) Many companies now use the Internet to provide product ________.
A) labeling information
B) brand equity
C) support services
D) packaging advantages
E) product mixes
Answer: C
Diff: 2 Type: MC Page Ref: 300
Skill: Concept
Objective: 8-4

22
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85) A ________ is a group of products that are closely related because they function in a similar
manner, are sold to the same customer groups, are marketed through the same type of outlets, or
fall within given price ranges.
A) product line
B) line extension
C) private brand
D) convenience product
E) product bandwidth
Answer: A
Diff: 1 Type: MC Page Ref: 300
Skill: Concept
Objective: 8-4

86) The major product line decision involves ________.

A) line stretching
B) moving the line upward or downward
C) product line filling
D) product line length
E) product packaging
Answer: D
Diff: 3 Type: MC Page Ref: 300
Skill: Concept
Objective: 8-4

87) Berkowitz Piano Company can expand its product line in one of two common ways. Which
of the following is one of those ways?
A) internal marketing
B) line filling
C) product mixing
D) social marketing
E) line mixing
Answer: B
Diff: 2 Type: MC Page Ref: 300
Skill: Concept
Objective: 8-4

88) An alternative to product line stretching is ________, adding more items within the present
range of the line.
A) product mixing
B) interactive marketing
C) product line filling
D) co-branding
E) service marketing
Answer: C
Diff: 2 Type: MC Page Ref: 300
Skill: Concept
Objective: 8-4
23
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89) When a company lengthens its product line beyond its current range, it is ________.
A) product line filling
B) product line stretching
C) product mixing
D) increasing product depth
E) building brand equity
Answer: B
Diff: 2 Type: MC Page Ref: 300
Skill: Concept
Objective: 8-4

90) A ________ consists of all the product lines and items that a particular seller offers for sale.
A) product mix
B) brand line
C) consumer mix
D) packaging mix
E) line extension
Answer: A
Diff: 1 Type: MC Page Ref: 301
Skill: Concept
Objective: 8-4

91) Which term best describes the following statement? "Campbell's products are highly uniform
in that they perform similar functions for buyers and are available via the same distribution
channels."
A) marketing length
B) marketing height
C) product mix consistency
D) marketing strategic perimeter
E) marketing mix depth
Answer: C
Diff: 2 Type: MC Page Ref: 301
Skill: Concept
Objective: 8-4

92) Product mix ________ refers to the number of versions offered of each product in the line.
Crest toothpaste comes in 13 varieties, ranging from Crest Multicare to Crest Baking Soda
formulations.
A) length
B) depth
C) height
D) width
E) perimeter
Answer: B
Diff: 2 Type: MC Page Ref: 301
Skill: Concept
Objective: 8-4
24
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93) The ________ of the product mix refers to how closely related the various product lines are
in end use, production requirements, distribution channels, or some other way.
A) depth
B) length
C) width
D) consistency
E) perimeter
Answer: D
Diff: 2 Type: MC Page Ref: 301
Skill: Concept
Objective: 8-4

94) Service providers must consider four special service characteristics when designing
marketing programs. They are ________.
A) service intangibility, service heterogeneity, service inseparability, service variability
B) service inseparability, service heterogeneity, service intangibility, service variability
C) service perishability, service heterogeneity, service inseparability, service variability
D) service heterogeneity, service perishability, service inseparability, service intangibility
E) service variability, service intangibility, service inseparability, service perishability
Answer: E
Diff: 3 Type: MC Page Ref: 303
Skill: Concept
Objective: 8-5

95) ________ means that services cannot be seen, tasted, felt, heard, or smelled before they are
bought.
A) Service inseparability
B) Service variability
C) Service intangibility
D) Service perishability
E) Service heterogeneity
Answer: C
Diff: 1 Type: MC Page Ref: 303
Skill: Concept
Objective: 8-5

96) ________ means that services cannot be separated from their providers, whether the
providers are people or machines.
A) Service intangibility
B) Service inseparability
C) Service variability
D) Service perishability
E) Service heterogeneity
Answer: B
Diff: 1 Type: MC Page Ref: 304
Skill: Concept
Objective: 8-5
25
Copyright © 2017 Pearson Canada Inc.
Other documents randomly have
different content
grow clear and hard, and at last arranges itself in mysterious, infinitely
fine, parallel lines, which have the power of reflecting not merely the blue
rays, but the blue, green, purple, and red rays in the greatest beauty in
which they can be seen through any hard material whatsoever. We call it
then an opal.

In next order the soot sets to work; it cannot make itself white at first,
but instead of being discouraged, tries harder and harder, and comes out
clear at last, and the hardest thing in the world; and for the blackness
that it had, obtains in exchange the power of reflecting all the rays of the
sun at once in the vividest blaze that any solid thing can shoot. We call it
then a diamond.

Last of all the water purifies or unites itself, contented enough if it only
reach the form of a dew-drop; but if we insist on its proceeding to a more
perfect consistence, it crystallizes into the shape of a star.

And for the ounce of slime which we had by political economy of

competition, we have by political economy of co-operation, a sapphire, an
opal, and a diamond, set in the midst of a star of snow.

§ 10. Now invention in art signifies an arrangement, in which

everything in the work is thus consistent with all things else, and helpful
to all else.

It is the greatest and rarest of all the qualities of art. The power by
which it is effected is absolutely inexplicable and incommunicable; but
exercised with entire facility by those who possess it, in many cases even
unconsciously.3

In work which is not composed, there may be many beautiful things,

but they do not help each other. They at the best only stand beside, and
more usually compete with and destroy, each other. They may be
connected artificially in many ways, but the test of there being no
invention is, that if one of them be taken away, the others are no worse
than before. But in true composition, if one be taken away, all the rest
are helpless and valueless. Generally, in falsely composed work, if
anything be taken away, the rest will look better; because the attention is
less distracted. Hence the pleasure of inferior artists in sketching, and
their inability to finish; all that they add destroys.

§ 11. Also in true composition, everything not only helps everything

else a little, but helps with its utmost power. Every atom is in full energy;
and all that energy is kind. Not a line, nor spark of color, but is doing its
very best, and that best is aid. The extent to which this law is carried in
truly right and noble work is wholly inconceivable to the ordinary
observer, and no true account of it would be believed.

§ 12. True composition being entirely easy to the man who can
compose, he is seldom proud of it, though he clearly recognizes it. Also,
true composition is inexplicable. No one can explain how the notes of a
Mozart melody, or the folds of a piece of Titian’s drapery, produce their
essential effect on each other. If you do not feel it, no one can by
reasoning make you feel it. And, the highest composition is so subtle,
that it is apt to become unpopular, and sometimes seem insipid.

§ 13. The reader may be surprised at my giving so high a place to

invention. But if he ever come to know true invention from false, he will
find that it is not only the highest quality of art, but is simply the most
wonderful act or power of humanity. It is pre-eminently the deed of
human creation; ποίησις, otherwise, poetry.

If the reader will look back to my definition of poetry, he will find it is

“the suggestion, by the imagination, of noble grounds for the noble
emotions” (Vol. III. p. 10), amplified below (§ 14) into “assembling by
help of the imagination;” that is to say, imagination associative, described
at length in Vol. II., in the chapter just referred to. The mystery of the
power is sufficiently set forth in that place. Of its dignity I have a word or
two to say here.
 § 14. Men in their several professed employments, looked at broadly,
may be properly arranged under five classes:—

1. Persons who see. These in modern language are sometimes called

sight-seers, that being an occupation coming more and more into vogue
every day. Anciently they used to be called, simply, seers.

2. Persons who talk. These, in modern language, are usually called

talkers, or speakers, as in the House of Commons, and elsewhere. They
used to be called prophets.

3. Persons who make. These, in modern language, are usually called

manufacturers. Anciently they were called poets.

4. Persons who think. There seems to be no very distinct modern title

for this kind of person, anciently called philosophers; nevertheless we
have a few of them among us.

5. Persons who do: in modern language, called practical persons;

anciently, believers.

Of the first two classes I have only this to note,—that we ought neither
to say that a person sees, if he sees falsely, nor speaks, if he speaks
falsely. For seeing falsely is worse than blindness, and speaking falsely,
than silence. A man who is too dim-sighted to discern the road from the
ditch, may feel which is which;—but if the ditch appears manifestly to
him to be the road, and the road to be the ditch, what shall become of
him? False seeing is unseeing,—on the negative side of blindness; and
false speaking, unspeaking,—on the negative side of silence.

To the persons who think, also, the same test applies very shrewdly.
Theirs is a dangerous profession; and from the time of the Aristophanes
thought-shop to the great German establishment, or thought-
manufactory, whose productions have, unhappily, taken in part the place
of the older and more serviceable commodities of Nuremberg toys and
Berlin wool, it has been often harmful enough to mankind. It should not
be so, for a false thought is more distinctly and visibly no thought than a
false saying is no saying. But it is touching the two great productive
classes of the doers and makers, that we have one or two important
points to note here.

§ 15. Has the reader ever considered, carefully, what is the meaning of
“doing” a thing?

Suppose a rock falls from a hill-side, crushes a group of cottages, and

kills a number of people. The stone has produced a great effect in the
world. If any one asks, respecting the broken roofs, “What did it?” you
say the stone did it. Yet you don’t talk of the deed of the stone. If you
inquire farther, and find that a goat had been feeding beside the rock,
and had loosened it by gnawing the roots of the grasses beneath, you
find the goat to be the active cause of the calamity, and you say the goat
did it. Yet you don’t call the goat the doer, nor talk of its evil deed. But if
you find any one went up to the rock, in the night, and with deliberate
purpose loosened it, that it might fall on the cottages, you say in quite a
different sense, “It is his deed: he is the doer of it.”

§ 16. It appears, then, that deliberate purpose and resolve are needed
to constitute a deed or doing, in the true sense of the word; and that
when, accidentally or mechanically, events take place without such
purpose, we have indeed effects or results, and agents or causes, but
neither deeds nor doers.

Now it so happens, as we all well know, that by far the largest part of
things happening in practical life are brought about with no deliberate
purpose. There are always a number of people who have the nature of
stones; they fall on other persons and crush them. Some again have the
nature of weeds, and twist about other people’s feet and entangle them.
More have the nature of logs, and lie in the way, so that every one falls
over them. And most of all have the nature of thorns, and set themselves
by waysides, so that every passer-by must be torn, and all good seed
choked; or perhaps make wonderful crackling under various pots, even to
the extent of practically boiling water and working pistons. All these
people produce immense and sorrowful effect in the world. Yet none of
them are doers: it is their nature to crush, impede, and prick: but deed is
not in them.4

§ 17. And farther, observe, that even when some effect is finally
intended, you cannot call it the person’s deed, unless it is what he
intended.

If an ignorant person, purposing evil, accidentally does good, (as if a

thief’s disturbing a family should lead them to discover in time that their
house was on fire); or vice versâ, if an ignorant person intending good,
accidentally does evil (as if a child should give hemlock to his companions
for celery), in neither case do you call them the doers of what may result.
So that in order to be a true deed, it is necessary that the effect of it
should be foreseen. Which, ultimately, it cannot be, but by a person who
knows, and in his deed obeys, the laws of the universe, and of its Maker.
And this knowledge is in its highest form, respecting the will of the Ruling
Spirit, called Trust. For it is not the knowledge that a thing is, but that,
according to the promise and nature of the Ruling Spirit, a thing will be.
Also obedience in its highest form is not obedience to a constant and
compulsory law, but a persuaded or voluntary yielded obedience to an
issued command; and so far as it was a persuaded submission to
command, it was anciently called, in a passive sense, “persuasion,” or
πίστις, and in so far as it alone assuredly did, and it alone could do, what
it meant to do, and was therefore the root and essence of all human
deed, it was called by the Latins the “doing,” or fides, which has passed
into the French foi and the English faith. And therefore because in His
doing always certain, and in His speaking always true, His name who
leads the armies of Heaven is “Faithful and True,”5 and all deeds which
are done in alliance with those armies, be they small or great, are
essentially deeds of faith, which therefore, and in this one stern, eternal,
sense, subdues all kingdoms, and turns to flight the armies of the aliens,
and is at once the source and the substance of all human deed, rightly so
called.

§ 18. Thus far then of practical persons, once called believers, as set
forth in the last word of the noblest group of words ever, so far as I
know, uttered by simple man concerning his practice, being the final
testimony of the leaders of a great practical nation, whose deed
thenceforward became an example of deed to mankind:

Ω ξεῖν᾿, ἀγγέλλειν Λακεδαιμονίοις, ὃτι τῇδε

Κείμεθα, τοῖς κείνων ῥήμασί πειθόμενοι.

“O stranger! (we pray thee), tell the Lacedæmonians that we are lying
here, having obeyed their words.”

§ 19. What, let us ask next, is the ruling character of the person who
produces—the creator or maker, anciently called the poet?

We have seen what a deed is. What then is a “creation”? Nay, it may
be replied, to “create” cannot be said of man’s labor.

On the contrary, it not only can be said, but is and must be said
continually. You certainly do not talk of creating a watch, or creating a
shoe; nevertheless you do talk of creating a feeling. Why is this?

Look back to the greatest of all creation, that of the world. Suppose the
trees had been ever so well or so ingeniously put together, stem and leaf,
yet if they had not been able to grow, would they have been well
created? Or suppose the fish had been cut and stitched finely out of skin
and whalebone; yet, cast upon the waters, had not been able to swim?
Or suppose Adam and Eve had been made in the softest clay, ever so
neatly, and set at the foot of the tree of knowledge, fastened up to it,
quite unable to fall, or do anything else, would they have been well
created, or in any true sense created at all?

§ 20. It will, perhaps, appear to you, after a little farther thought, that
to create anything in reality is to put life into it.

A poet, or creator, is therefore a person who puts things together, not

as a watchmaker steel, or a shoemaker leather, but who puts life into
them.

His work is essentially this: it is the gathering and arranging of material

by imagination, so as to have in it at last the harmony or helpfulness of
life, and the passion or emotion of life. Mere fitting and adjustment of
material is nothing; that is watchmaking. But helpful and passionate
harmony, essentially choral harmony, so called from the Greek word
“rejoicing,”6 is the harmony of Apollo and the Muses; the word Muse and
Mother being derived from the same root, meaning “passionate seeking,”
or love, of which the issue is passionate finding, or sacred invention. For
which reason I could not bear to use any baser word than this of
invention. And if the reader will think over all these things, and follow
them out, as I think he may easily with this much of clue given him, he
will not any more think it wrong in me to place invention so high among
the powers of man.7

Or any more think it strange that the last act of the life of Socrates8
should have been to purify himself from the sin of having negligently
listened to the voice within him, which, through all his past life, had bid
him “labor, and make harmony.”
 1 The word composition has been so much abused, and is in itself so
inexpressive, that when I wrote the first part of this work I intended always to
use, in this final section of it, the word “invention,” and to reserve the term
“composition” for that false composition which can be taught on principles; as I
have already so employed the term in the chapter on “Imagination Associative,”
in the second volume. But, in arranging this section, I find it is not conveniently
possible to avoid the ordinary modes of parlance; I therefore only head the
section as I intended (and as is, indeed, best), using in the text the ordinarily
accepted term; only, the reader must be careful to note that what I spoke of
shortly as “composition” in the chapters on “Imagination,” I here always call,
distinctly, “false composition;” using here, as I find most convenient, the words
“invention” or “composition” indifferently for the true faculty.

2 “The cries of them which have reaped have entered into the ears of the
Lord of Sabaoth (of all the creatures of the earth).” You will find a wonderful
clearness come into many texts by reading, habitually, “helpful” and
“helpfulness” for “holy” and “holiness,” or else “living,” as in Rom. xi. 16. The
sense “dedicated” (the Latin sanctus), being, of course, inapplicable to the
Supreme Being, is an entirely secondary and accidental one.

3 By diligent study of good compositions it is possible to put work together

so that the parts shall help each other, a little, or at all events do no harm; and
when some tact and taste are associated with this diligence, semblances of real
invention are often produced, which, being the results of great labor, the artist
is always proud of; and which, being capable of learned explanation and
imitation, the spectator naturally takes interest in. The common precepts about
composition all produce and teach this false kind, which, as true composition is
the noblest, being the corruption of it, is the ignoblest condition of art.

4 We may, perhaps, expediently recollect as much of our botany as to teach

us that there may be sharp and rough persons, like spines, who yet have good
in them, and are essentially branches, and can bud. But the true thorny person
is no spine, only an excrescence; rootless evermore,—leafless evermore. No
crown made of such can ever meet glory of Angel’s hand. (In Memoriam, lxviii.)

5 “True,” means, etymologically, not “consistent with fact,” but “which may
be trusted.” “This is a true saying, and worthy of all acceptation,” &c., meaning
a trusty saying,—a saying to be rested on, leant upon.

6 Χορούς τε ὠνομακέναι παρὰ τῆς χαρᾶς ἔμφυτον ονομα. (Dé leg. II. 1.)
 7 This being, indeed, among the visiblest signs of the Divine or immortal
life. We have got a base habit of opposing the word “mortal” or “deathful”
merely to “im-mortal;” whereas it is essentially contrary to “divine” (to θείος,
not to ἀθανάτος, Phaedo, 66), that which is deathful being anarchic or
disobedient, and that which is divine ruling and obedient; this being the true
distinction between flesh and spirit.

8 Πολλάκις μοι φοιτῶν τὸ αὐτὸ ἐνύπνιον ἐν τῷ παρελθόντι βίῳ, ἄλλοτ᾽

ἐν ἄλλη ὄψει φαινόμενον, τὰ αὐτὰ δὲ λέγον, Ω Σώκρα τες, ἔφη, μουδικὴν
ποίει καὶ ἐργαζου. (Phaedo, 11.)

CHAPTER II.
THE TASK OF THE LEAST.

§ 1. The reader has probably been surprised at my assertions made

often before now, and reiterated here, that the minutest portion of a
great composition is helpful to the whole. It certainly does not seem
easily conceivable that this should be so. I will go farther, and say that it
is inconceivable. But it is the fact.

We shall discern it to be so by taking one or two compositions to

pieces, and examining the fragments. In doing which, we must remember
that a great composition always has a leading emotional purpose,
technically called its motive, to which all its lines and forms have some
relation. Undulating lines, for instance, are expressive of action; and
would be false in effect if the motive of the picture was one of repose.
Horizontal and angular lines are expressive of rest and strength; and
would destroy a design whose purpose was to express disquiet and
feebleness. It is therefore necessary to ascertain the motive before
descending to the detail.

§ 2. One of the simplest subjects, in the series of the Rivers of France,

is “Rietz, near Saumur.” The published Plate gives a better rendering than
usual of its tone of light; and my rough etching, Plate 73, sufficiently
shows the arrangement of its lines. What is their motive?

To get at it completely, we must know something of the Loire.

The district through which it here flows is, for the most part, a low
place, yet not altogether at the level of the stream, but cut into steep
banks of chalk or gravel, thirty or forty feet high, running for miles at
about an equal height above the water.
 73. Loire-side.

These banks are excavated by the peasantry, partly for houses, partly
for cellars, so economizing vineyard space above; and thus a kind of
continuous village runs along the river-side, composed half of caves, half
of rude buildings, backed by the cliff, propped against it, therefore always
leaning away from the river; mingled with overlappings of vineyard trellis
from above, and little towers or summer-houses for outlook, when the
grapes are ripe, or for gossip over the garden wall.
 § 3. It is an autumnal evening, then, by this Loire side. The day has
been hot, and the air is heavy and misty still; the sunlight warm, but dim;
the brown vine-leaves motionless: all else quiet. Not a sail in sight on the
river,1 its strong, noiseless current lengthening the stream of low sunlight.

The motive of the picture, therefore, is the expression of rude but

perfect peace, slightly mingled with an indolent languor and
despondency; the peace between intervals of enforced labor; happy, but
listless, and having little care or hope about the future; cutting its home
out of this gravel bank, and letting the vine and the river twine and
undermine as they will; careless to mend or build, so long as the walls
hold together, and the black fruit swells in the sunshine.

§ 4. To get this repose, together with rude stability, we have therefore

horizontal lines and bold angles. The grand horizontal space and sweep
of Turner’s distant river show perhaps better in the etching than in the
Plate; but depend wholly for value on the piece of near wall. It is the
vertical line of its dark side which drives the eye up into the distance,
right against the horizontal, and so makes it felt, while the flatness of the
stone prepares the eye to understand the flatness of the river. Farther:
hide with your finger the little ring on that stone, and you will find the
river has stopped flowing. That ring is to repeat the curved lines of the
river bank, which express its line of current, and to bring the feeling of
them down near us. On the other side of the road the horizontal lines are
taken up again by the dark pieces of wood, without which we should still
lose half our space.

Next: The repose is to be not only perfect, but indolent: the repose of
out-wearied people: not caring much what becomes of them.

You see the road is covered with litter. Even the crockery is left outside
the cottage to dry in the sun, after being washed up. The steps of the
cottage door have been too high for comfort originally, only it was less
trouble to cut three large stones than four or five small. They are now all
aslope and broken, not repaired for years. Their weighty forms increase
the sense of languor throughout the scene, and of stability also, because
we feel how difficult it would be to stir them. The crockery has its work to
do also;—the arched door on the left being necessary to show the great
thickness of walls and the strength they require to prevent falling in of
the cliff above;—as the horizontal lines must be diffused on the right, so
this arch must be diffused on the left; and the large round plate on one
side of the steps, with the two small ones on the other, are to carry down
the element of circular curvature. Hide them, and see the result.

As they carry the arched group of forms down, the arched window-
shutter diffuses it upwards, where all the lines of the distant buildings
suggest one and the same idea of disorderly and careless strength,
mingling masonry with rock.

§ 5. So far of the horizontal and curved lines. How of the radiating

ones? What has the black vine trellis got to do?

Lay a pencil or ruler parallel with its lines. You will find that they point
to the massive building in the distance. To which, as nearly as is possible
without at once showing the artifice, every other radiating line points
also; almost ludicrously when it is once pointed out; even the curved line
of the top of the terrace runs into it, and the last sweep of the river
evidently leads to its base. And so nearly is it in the exact centre of the
picture, that one diagonal from corner to corner passes through it, and
the other only misses the base by the twentieth of an inch.

If you are accustomed to France, you will know in a moment by its

outline that this massive building is an old church.

Without it, the repose would not have been essentially the laborer’s
rest—rest as of the Sabbath. Among all the groups of lines that point to
it, two are principal: the first, those of the vine trellis: the second, those
of the handles of the saw left in the beam:—the blessing of human life
and its labor.
 Whenever Turner wishes to express profound repose, he puts in the
foreground some instrument of labor cast aside. See, in Roger’s Poems,
the last vignette, “Datur hora quieti,” with the plough in the furrow; and
in the first vignette of the same book, the scythe on the shoulder of the
peasant going home. (There is nothing about the scythe in the passage
of the poem which this vignette illustrates.)

§ 6. Observe, farther, the outline of the church itself. As our habitations

are, so is our church, evidently a heap of old, but massive, walls,
patched, and repaired, and roofed in, and over and over, until its original
shape is hardly recognizable. I know the kind of church well—can tell
even here, two miles off, that I shall find some Norman arches in the
apse, and a flamboyant porch, rich and dark, with every statue broken
out of it; and a rude wooden belfry above all; and a quantity of miserable
shops built in among the buttresses; and that I may walk in and out as
much as I please, but that how often soever, I shall always find some one
praying at the Holy Sepulchre, in the darkest aisle, and my going in and
out will not disturb them. For they are praying, which in many a
handsomer and highlier-furbished edifice might, perhaps, not be so
assuredly the case.

§ 7. Lastly: What kind of people have we on this winding road? Three

indolent ones, leaning on the wall to look over into the gliding water; and
a matron with her market panniers, by her figure, not a fast rider. The
road, besides, is bad, and seems unsafe for trotting, and she has passed
without disturbing the cat, who sits comfortably on the block of wood in
the middle of it.

§ 8. Next to this piece of quietness, let us glance at a composition in

which the motive is one of tumult: that of the Fall of Schaffhausen. It is
engraved in the Keepsake. I have etched in Plate 74, at the top, the chief
lines of its composition,2 in which the first great purpose is to give swing
enough to the water. The line of fall is straight and monotonous in reality.
Turner wants to get the great concave sweep and rush of the river well
felt, in spite of the unbroken form. The column of spray, rocks, mills, and
bank, all radiate like a plume, sweeping round together in grand curves to
the left, where the group of figures, hurried about the ferry boat, rises
like a dash of spray; they also radiating: so as to form one perfectly
connected cluster, with the two gens-d’armes and the millstones; the
millstones at the bottom being the root of it; the two soldiers laid right
and left to sustain the branch of figures beyond, balanced just as a tree
bough would be.

§ 9. One of the gens-d’armes is flirting with a young lady in a round

cap and full sleeves, under pretence of wanting her to show him what
she has in her bandbox. The motive of which flirtation is, so far as Turner
is concerned in it, primarily the bandbox: this and the millstones below,
give him a series of concave lines, which, concentrated by the recumbent
soldiers, intensify the hollow sweep of the fall, precisely as the ring on
the stone does the Loire eddies. These curves are carried out on the right
by the small plate of eggs, laid to be washed at the spring; and, all these
concave lines being a little too quiet and recumbent, the staggering casks
are set on the left, and the ill-balanced milk-pail on the right, to give a
general feeling of things being rolled over and over. The things which are
to give this sense of rolling are dark, in order to hint at the way in which
the cataract rolls boulders of rock; while the forms which are to give the
sense of its sweeping force are white. The little spring, splashing out of
its pine-trough, is to give contrast with the power of the fall,—while it
carries out the general sense of splashing water.
 74. The Mill-stream.

Painted by J. N. W. Turner Drawn by J. Ruskin. Engraved by R. P.

75. The Castle of Lauffen.

§ 10. This spring exists on the spot, and so does everything else in the
picture; but the combinations are wholly arbitrary; it being Turner’s fixed
principle to collect out of any scene whatever was characteristic, and put
it together just as he liked. The changes made in this instance are highly
curious. The mills have no resemblance whatever to the real group as
seen from this spot; for there is a vulgar and formal dwelling-house in
front of them. But if you climb the rock behind them, you find they form
on that side a towering cluster, which Turner has put with little
modification into the drawing. What he has done to the mills, he has
done with still greater audacity to the central rock. Seen from this spot, it
shows, in reality, its greatest breadth, and is heavy and uninteresting; but
on the Lauffen side, exposes its consumed base, worn away by the rush
of water, which Turner resolving to show, serenely draws the rock as it
appears from the other side of the Rhine, and brings that view of it over
to this side. I have etched the bit with the rock a little larger below; and if
the reader knows the spot, he will see that this piece of the drawing,
reversed in the etching, is almost a bonâ fide unreversed study of the fall
from the Lauffen side.3

Finally, the castle of Lauffen itself, being, when seen from this spot, too
much foreshortened to show its extent, Turner walks a quarter of a mile
lower down the river, draws the castle accurately there, brings it back
with him, and puts it in all its extent, where he chooses to have it,
beyond the rocks.

I tried to copy and engrave this piece of the drawing of its real size,
merely to show the forms of the trees, drifted back by the breeze from
the fall, and wet with its spray; but in the endeavor to facsimile the
touches, great part of their grace and ease has been lost; still, Plate 75
may, if compared with the same piece in the Keepsake engraving, at least
show that the original drawing has not yet been rendered with
completeness.

§ 11. These two examples may sufficiently serve to show the mode in
which minor details, both in form and spirit, are used by Turner to aid his
main motives; of course I cannot, in the space of this volume, go on
examining subjects at this length, even if I had time to etch them; but
every design of Turner’s would be equally instructive, examined in a
similar manner. Thus far, however, we have only seen the help of the
parts to the whole: we must give yet a little attention to the mode of
combining the smallest details.
 I am always led away, in spite of myself, from my proper subject here,
invention formal, or the merely pleasant placing of lines and masses, into
the emotional results of such arrangement.

The chief reason of this is that the emotional power can be explained;
but the perfection of formative arrangement, as I said, cannot be
explained, any more than that of melody in music. An instance or two of
it, however, may be given.

§ 12. Much fine formative arrangement depends on a more or less

elliptical or pear-shaped balance of the group, obtained by arranging the
principal members of it on two opposite curves, and either centralizing it
by some powerful feature at the base, centre, or summit; or else clasping
it together by some conspicuous point or knot. A very small object will
often do this satisfactorily.

If you can get the complete series of Lefèbre’s engravings from Titian
and Veronese, they will be quite enough to teach you, in their dumb way,
everything that is teachable of composition; at all events, try to get the
Madonna, with St. Peter and St. George under the two great pillars; the
Madonna and Child, with mitred bishop on her left, and St. Andrew on
her right; and Veronese’s Triumph of Venice. The first of these Plates
unites two formative symmetries; that of the two pillars, clasped by the
square altar-cloth below and cloud above, catches the eye first; but the
main group is the fivefold one rising to the left, crowned by the Madonna.
St. Francis and St. Peter form its two wings, and the kneeling portrait
figures, its base. It is clasped at the bottom by the key of St. Peter, which
points straight at the Madonna’s head, and is laid on the steps solely for
this purpose; the curved lines, which enclose the group, meet also in her
face; and the straight line of light, on the cloak of the nearest senator,
points at her also. If you have Turner’s Liber Studiorum, turn to the
Lauffenburg, and compare the figure group there: a fivefold chain, one
standing figure, central; two recumbent, for wings; two half-recumbent,
for bases; and a cluster of weeds to clasp. Then turn to Lefèbre’s Europa
(there are two in the series—I mean the one with the two tree trunks
over her head). It is a wonderful ninefold group. Europa central; two
stooping figures, each surmounted by a standing one, for wings; a cupid
on one side, and dog on the other, for bases; a cupid and trunk of tree,
on each side, to terminate above; and a garland for clasp.