234
Sec. 15. Farther proof of their deficiency in space. 235
Sec. 16. Instance of perfect truth in the sky of Turner's Babylon. 236
Sec. 17. And in his Pools of Solomon. 237
Sec. 18. Truths of outline and character in his Como. 237
Sec. 19. Association of the cirrostratus with the cumulus. 238
Sec. 20. The deep-based knowledge of the Alps in Turner's Lake of
Geneva. 238
Sec. 21. Farther principles of cloud form exemplified in his Amalfi. 239
Sec. 22. Reasons for insisting on the _infinity_ of Turner's works.
Infinity is almost an unerring test of _all_ truth. 239
Sec. 23. Instances of the total want of it in the works of Salvator. 240
Sec. 24. And of the universal presence of it in those of Turner. The
conclusions which may be arrived at from it. 240
Sec. 25. The multiplication of objects, or increase of their size, will
not give the impression of infinity, but is the resource of
novices. 241
Sec. 26. Farther instances of infinity in the gray skies of Turner. 242
Sec. 27. The excellence of the cloud-drawing of Stanfield. 242
Sec. 28. The average standing of the English school. 243

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