Sec. 10. His weakness, and its probable cause. 249
Sec. 11. Impossibility of reasoning on the rain-clouds of Turner from
engravings. 250
Sec. 12. His rendering of Fielding's particular moment in the Jumieges. 250
Sec. 13. Illustration of the nature of clouds in the opposed forms of
smoke and steam. 250
Sec. 14. Moment of retiring rain in the Llanthony. 251
Sec. 15. And of commencing, chosen with peculiar meaning for Loch
Coriskin. 252
Sec. 16. The drawing of transparent vapor in the Land's End. 253
Sec. 17. The individual character of its parts. 253
Sec. 18. Deep-studied form of swift rain-cloud in the Coventry. 254
Sec. 19. Compared with forms given by Salvator. 254
Sec. 20. Entire expression of tempest by minute touches and
circumstances in the Coventry. 255
Sec. 21. Especially by contrast with a passage of extreme repose. 255
Sec. 22. The truth of this particular passage. Perfectly pure blue sky
only seen after rain, and how seen. 256
Sec. 23. Absence of this effect in the works of the old masters. 256
Sec. 24. Success of our water-color artists in its rendering. Use of it
by Turner. 257
Sec. 25. Expression of near rain-cloud in the Gosport, and other works. 257
Sec. 26. Contrasted with Gaspar Poussin's rain-cloud in the Dido and
Aeneas. 258
Sec. 27. Turner's power of rendering mist. 258
Sec. 28. His effects of mist so perfect, that if not at once
understood, they can no more be explained or reasoned on
than nature herself. 259
Sec. 29. Various instances. 259
Sec. 30. Turner's more violent effects of tempest are never rendered
by engravers. 260
Sec. 31. General system of landscape engraving. 260
Sec. 32. The storm in the Stonehenge. 260
Se