iguille-drawing _Turner, etc._ J. H. LE KEUX 191
33. Contours of Aiguille Bouchard _The Author_ R. P. CUFF 204
34. Cleavage of Aiguille Bouchard _The Author_ THE AUTHOR 211
35. Crests of La Cote and Taconay _The Author_ THE AUTHOR 212
36. Crest of La Cote _The Author_ T. LUPTON 213
37. Crests of the Slaty
Crystallines _J. M. W. Turner_ THE AUTHOR 222
38. The Cervin, from the East
and North-east _The Author_ J. C. ARMYTAGE 233
39. The Cervin from the
North-west _The Author_ J. C. ARMYTAGE 238
40. The Mountains of Villeneuve _The Author_ J. H. LE KEUX 246
12. A. The Shores of Wharfe _J. M. W. Turner_ THOS. LUPTON 251
41. The Rocks of Arona _The Author_ J. H. LE KEUX 255
42. Leaf Curvature Magnolia and
Laburnum _The Author_ R. P. CUFF 269
43. Leaf Curvature Dead Laurel _The Author_ R. P. CUFF 269
44. Leaf Curvature Young Ivy _The Author_ R. P. CUFF 269
45. Debris Curvature _The Author_ R. P. CUFF 285
46. The Buttresses of an Alp _The Author_ J. H. LE KEUX 286
47. The Quarry of Carrara _The Author_ J. H. LE KEUX 299
48. Bank of Slaty Crystallines _Daguerreotype_ J. C. ARMYTAGE 304
49. Truth and Untruth of Stones _Turner and Claude_ THOS. LUPTON 308
50. Goldau _J. M. W. Turner_ J. COUSEN 312

[Illustration: 18. The Transition from Ghirlandajo to Claude.]

PART V.

OF MOUNTAIN BEAUTY.

CHAPTER I.

OF THE TURNERIAN PICTURESQUE.

Sec. 1. THE work which we proposed to ourselves, towards the close of the
last volume, as first to be undertaken in this, was the examination of
those peculiarities of system in which Turner either stood alone, even
in the modern school, or was a distinguished representative of modern,
as opposed to ancient practice.

And the most interesting of these subjects of inquiry, with which,
therefore, it may be best to begin, is the precise form under which he
has admitted into his work the modern feeling of the picturesque, which,
so far as it consists in a delight in ruin, is perhaps the most
suspicious and questionable of all the characters distinctively
belonging to our temper, and art