Chapter III: , Of the Inferior Mountains

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