Chapter III: Of the Inferior Mountains

Sec. 1. The inferior mountains are distinguished from the central, by
being divided into beds. 290
Sec. 2. Farther division of these beds by joints. 290
Sec. 3. And by lines of lamination. 291
Sec. 4. Variety and seeming uncertainty under which these laws are
manifested. 291
Sec. 5. The perfect expression of them in Turner's Loch Coriskin. 292
Sec. 6. Glencoe and other works. 293
Sec. 7. Especially the Mount Lebanon. 293
Sec. 8. Compared with the work of Salvator. 294
Sec. 9. And of Poussin. 295
Sec. 10. Effects of external influence on mountain form. 296
Sec. 11. The gentle convexity caused by aqueous erosion. 297
Sec. 12. And the effect of the action of torrents. 297
Sec. 13. The exceeding simplicity of contour caused by these
influences. 298
Sec. 14. And multiplicity of feature. 299
Sec. 15. Both utterly neglected in ancient art. 299
Sec. 16. The fidelity of treatment in Turner's Daphne and Leucippus. 300
Sec. 17. And in the Avalanche and Inundation. 300
Sec. 18. The rarity among secondary hills of steep slopes or high
precipices. 301
Sec. 19. And consequent expression of horizontal distance in their
ascent. 302
Sec. 20. Full statement of all these facts in various works of
Turner.--Caudebec, etc. 302
Sec. 21. The use of considering geological truths. 303
Sec. 22. Expression of retiring surface by Turner contrasted with the
work of Claude. 304
Sec. 23. The same moderation of slope in the contours of his higher
hills. 304
Sec. 24. The peculiar difficulty of investigating the more essential
truths of hill outline. 305
Sec. 25. Works of other modern artists.--Clarkson Stanfield. 305
Sec. 26. Importance of particular and individual truth in hill drawing. 306
Sec. 27. Works of Copley Fielding. His high feeling. 307
Sec. 28. Works of J. D. Harding and others. 308