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

Rain-Cloud.

Sec. 1. The apparent difference in character between the lower and
central clouds is dependent chiefly on proximity. 244
Sec. 2. Their marked differences in color. 244
Sec. 3. And in definiteness of form. 245
Sec. 4. They are subject to precisely the same great laws. 245
Sec. 5. Value, to the painter, of the rain-cloud. 246
Sec. 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
Sec. 7. The great power of the moderns in this respect. 248
Sec. 8. Works of Copley Fielding. 248
Sec. 9. His peculiar truth. 248
Sec. 10. His weakness, and its probable cause. 249
Sec. 11. Impossibility of reasoning on the rain-clouds of Turner from
engravings. 250
Sec. 12. His rendering of Fielding's particular moment in the Jumieges. 250
Sec. 13. Illustration of the nature of clouds in the opposed forms of
smoke and steam. 250
Sec. 14. Moment of retiring rain in the Llanthony. 251
Sec. 15. And of commencing, chosen with peculiar meaning for Loch
Coriskin. 252
Sec. 16. The drawing of transparent vapor in the Land's End. 253
Sec. 17. The individual character of its parts. 253
Sec. 18. Deep-studied form of swift rain-cloud in the Coventry. 254
Sec. 19. Compared with forms given by Salvator. 254
Sec. 20. Entire expression of tempest by minute touches and
circumstances in the Coventry. 255
Sec. 21. Especially by contrast with a passage of extreme repose. 255
Sec. 22. The truth of this particular passage. Perfectly pure blue sky
only seen after rain, and how seen. 256
Sec. 23. Absence of this effect in the works of the old masters. 256
Sec. 24. Success of our water-color artists in its rendering. Use of it
by Turner. 257
Sec. 25. Expression of near rain-cloud in the Gosport, and other works. 257
Sec. 26. Contrasted with Gaspar Poussin's rain-cloud in the Dido and
Aeneas. 258
Sec. 27. Turner's power of rendering mist. 258
Sec. 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
Sec. 29. Various instances. 259
Sec. 30. Turner's more violent effects of tempest are never rendered
by engravers. 260
Sec. 31. General system of landscape engraving. 260
Sec. 32. The storm in the Stonehenge. 260
Sec. 33. General character of such effects as given by Turner. His
expression of falling rain. 261
Sec. 34. Recapitulation of the section. 261
Sec. 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
Sec. 36. Noon with gathering storms. 263
Sec. 37. Sunset in tempest. Serene midnight. 264
Sec. 38. And sunrise on the Alps. 264

CHAPTER V.--Effects of Light rendered by Modern Art.

Sec. 1. Reasons for merely, at present, naming, without examining the
particular effects of light rendered by Turner. 266
Sec. 2. Hopes of the author for assistance in the future investigation
of them. 266

SECTION IV.

OF TRUTH OF EARTH.

CHAPTER I.--Of General Structure.

Sec. 1. First laws of the organization of the earth, and their
importance in art. 270
Sec. 2. The slight attention ordinarily paid to them. Their careful
study by modern artists. 271
Sec. 3. General structure of the earth. The hills are its action, the
plains its rest. 271
Sec. 4. Mountains come out from underneath the plains, and are their
support. 272
Sec. 5. Structure of the plains themselves. Their perfect level, when
deposited by quiet water. 273
Sec. 6. Illustrated by Turner's Marengo. 273
Sec. 7. General divisions of formation resulting from this
arrangement. Plan of investigation. 274