Chapter IV: ,Of Truth of Clouds:—Thirdly, of the Region of the Rain-Cloud

§ 1. The apparent difference in character between the lower and central clouds is dependent chiefly on proximity. 244 § 2. Their marked differences in color. 244 § 3. And in definiteness of form. 245 § 4. They are subject to precisely the same great laws. 245 § 5. Value, to the painter, of the rain-cloud. 246 § 6. The old masters have not left a single instance of the painting of the rain-cloud, and very few efforts at it. Gaspar Poussin's storms. 247 § 7. The great power of the moderns in this respect. 248 § 8. Works of Copley Fielding. 248 § 9. His peculiar truth. 248 § 10. His weakness, and its probable cause. 249 § 11. Impossibility of reasoning on the rain-clouds of Turner from engravings. 250 § 12. His rendering of Fielding's particular moment in the Jumieges. 250 § 13. Illustration of the nature of clouds in the opposed forms of smoke and steam. 250 § 14. Moment of retiring rain in the Llanthony. 251 § 15. And of commencing, chosen with peculiar meaning for Loch Coriskin. 252 § 16. The drawing of transparent vapor in the Land's End. 253 § 17. The individual character of its parts. 253 § 18. Deep-studied form of swift rain-cloud in the Coventry. 254 § 19. Compared with forms given by Salvator. 254 § 20. Entire expression of tempest by minute touches and circumstances in the Coventry. 255 § 21. Especially by contrast with a passage of extreme repose. 255 § 22. The truth of this particular passage. Perfectly pure blue sky only seen after rain, and how seen.[Page lxv] 256 § 23. Absence of this effect in the works of the old masters. 256 § 24. Success of our water-color artists in its rendering. Use of it by Turner. 257 § 25. Expression of near rain-cloud in the Gosport, and other works. 257 § 26. Contrasted with Gaspar Poussin's rain-cloud in the Dido and Æneas. 258 § 27. Turner's power of rendering mist. 258 § 28. His effects of mist so perfect, that if not at once understood, they can no more be explained or reasoned on than nature herself. 259 § 29. Various instances. 259 § 30. Turner's more violent effects of tempest are never rendered by engravers. 260 § 31. General system of landscape engraving. 260 § 32. The storm in the Stonehenge. 260 § 33. General character of such effects as given by Turner. His expression of falling rain. 261 § 34. Recapitulation of the section. 261 § 35. Sketch of a few of the skies of nature, taken as a whole, compared with the works of Turner and of the old masters. Morning on the plains. 262 § 36. Noon with gathering storms. 263 § 37. Sunset in tempest. Serene midnight. 264 § 38. And sunrise on the Alps. 264 Chapter V., Effects of Light rendered by Modern Art. § 1. Reasons for merely, at present, naming, without examining the particular effects of light rendered by Turner. 266 § 2. Hopes of the author for assistance in the future investigation of them. 266