Chapter III: , Of Truth of Clouds:—Secondly, of the Central Cloud Region

§ 1. Extent and typical character of the central cloud region. 226 § 2. Its characteristic clouds, requiring no attention nor thought for their representation, are therefore favorite subjects with the old masters. 226 § 3. The clouds of Salvator and Poussin. 227 § 4. Their essential characters. 227 § 5. Their angular forms and general decision of outline. 228 § 6. The composition of their minor curves. 229 § 7. Their characters, as given by S. Rosa. 230 § 8. Monotony and falsehood of the clouds of the Italian school generally. 230 § 9. Vast size of congregated masses of cloud. 231 § 10. Demonstrable by comparison with mountain ranges. 231 § 11. And consequent divisions and varieties of feature. 232 § 12. Not lightly to be omitted. 232 § 13. Imperfect conceptions of this size and extent in ancient landscape. 233 § 14. Total want of transparency and evanescence in the clouds of ancient landscape. 234 § 15. Farther proof of their deficiency in space. 235 § 16. Instance of perfect truth in the sky of Turner's Babylon. 236 § 17. And in his Pools of Solomon. 237 § 18. Truths of outline and character in his Como. 237 § 19. Association of the cirrostratus with the cumulus. 238 § 20. The deep-based knowledge of the Alps in Turner's Lake of Geneva. 238 § 21. Farther principles of cloud form exemplified in his Amalfi. 239 § 22. Reasons for insisting on the infinity of Turner's works. Infinity is almost an unerring test of all truth[Page lxiv] 239 § 23. Instances of the total want of it in the works of Salvator. 240 § 24. And of the universal presence of it in those of Turner. The conclusions which may be arrived at from it. 240 § 25. The multiplication of objects, or increase of their size, will not give the impression of infinity, but is the resource of novices. 241 § 26. Farther instances of infinity in the gray skies of Turner. 242 § 27. The excellence of the cloud-drawing of Stanfield. 242 § 28. The average standing of the English school. 243