§ 1. First laws of the organization of the earth, and their im-

portance in art............

25

§ 2. The slight attention ordinarily paid to them. Their care-

ful study by modern artists..

26

§ 3. General structure of the earth. The hills are its action,

the plains its rest....

27

§ 4. Mountains come out from underneath the plains, and are

their support.....

28

§ 5. Structure of the plains themselves. Their perfect level,

when deposited by quiet water..

28

§ 6. Illustrated by Turner's Marengo...

30

§ 7. General divisions of formation resulting from this ar-

rangement. Plan of investigation....

30

CHAPTER II.—OF THE CENTRAL MOUNTAINS.

§ 1. Similar character of the central peaks in all parts of the

world........

31

§ 2. Their arrangements in pyramids or wedges, divided by

vertical fissures.....

31

§ 3. Causing groups of rock resembling an artichoke or rose 32

.....

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§ 4. The faithful statement of these facts by Turner in his

Alps at Daybreak........

§ 5. Vignette of the Andes and others..

§ 6. Necessary distance, and consequent aerial effect on all

such mountains

32

33

... 34

....

§ 7. Total want of any rendering of their phenomena in

ancient art....

§ 8. Character of the representations of Alps in the distances

of Claude......

§ 9. Their total want of magnitude and aerial distance..

§ 10. And violation of specific form..

35

35

36

37

§ 11. Even in his best works.....

38

§ 12. Farther illustration of the distant character of moun-

tain chains....

38

§ 13. Their excessive appearance of transparency..

39

§ 14. Illustrated from the works of Turner and Stanfield.

The Borromean Islands of the latter..

40

§ 15. Turner's Arona....

40

§ 16. Extreme distance of large objects always characterized

by very sharp outline...

41

17. Want of this decision in Claude.

43

§ 18. The perpetual rendering of it by Turner.

43

§ 19. Effects of snow, how imperfectly studied.

44

20. General principles of its forms on the Alps..

46

§ 21. Average paintings of Switzerland. Its real spirit has

scarcely yet been caught....

48

CHAPTER III.—OF THE INFERIOR MOUNTAINS.

§ 1. The inferior mountains are distinguished from the cen-

tral by being divided into beds....

§ 2. Farther division of these beds by joints..

§ 3. And by lines of lamination......

4. Variety and seeming uncertainty under which these laws

are manifested......

§ 5. The perfect expression of them in Turner's Loch Coris-

§ 6. Glencoe and other works..

§ 7. Especially the Mount Lebanon..

§ 8. Compared with the work of Salvator.

9. And of Poussin.....

§ 10. Effects of external influence on mountain form..

§ 11. The gentle convexity caused by aqueous erosion..

§ 12. And the effect of the action of torrents....

§ 18. The rarity among secondary hills of steep slopes or high

precipices....

13. The exceeding simplicity of contour caused by these in-
fluences.....

§ 14. And multiplicity of feature...

15. Both utterly neglected in ancient art....

§ 16. The fidelity of treatment in Turner's Daphne and Leu-
cippus.......

17. And in the Avalanche and Inundation..

19. And consequent expression of horizontal distance in their

ascent..

63

§ 20. Full statement of all these facts in various works of

Turner,-Caudebec, etc....

§ 21. The use of considering geological truths.....

§ 22. Expression of retiring surface by Turner contrasted

with the work of Claude.....

§ 23. The same moderation of slope in the contours of his
higher hills......

.....

24. The peculiar difficulty of investigating the more essen-

tial truths of hill outline...

67

68

§ 25. Works of other modern artists. Clarkson Stanfield... 68

§ 26. Importance of particular and individual truth in hill

drawing....

27. Works of Copley Fielding. His hill feeling..

§ 28. Works of J. D. Harding and others...

CHAPTER IV.-OF THE FOREGROUND.

§ 1. What rocks were the chief components of ancient land-

scape foreground.....

§ 2. Salvator's limestones. The real characters of the rock.

Its fractures, and obtuseness of angles.

§ 3. Salvator's acute angles caused by the meeting of con-

cave curves.

69

70

71

.... 74

64

65

66

4. Peculiar distinctness of light and shade in the rocks of

nature.....

74

§ 5. Peculiar confusion of both in the rocks of Salvator.... 75

§ 6. And total want of any expression of hardness or brittle-

ness.....

§ 7. Instances in particular pictures

§ 8. Compared with the works of Stanfield..

75

75

76

§ 9. Their absolute opposition in every particular.

10. The rocks of J. D. Harding............

77

77

§ 11. Characters of loose earth and soil..

79