ing groups of rock resembling an artichoke or rose. 276
Sec. 4. The faithful statement of these facts by Turner in his Alps
at Daybreak. 276
Sec. 5. Vignette of the Andes and others. 277
Sec. 6. Necessary distance, and consequent aerial effect on all such
mountains. 277
Sec. 7. Total want of any rendering of their phenomena in ancient art. 278
Sec. 8. Character of the representations of Alps in the distances of
Claude. 278
Sec. 9. Their total want of magnitude and aerial distance. 279
Sec. 10. And violation of specific form. 280
Sec. 11. Even in his best works. 280
Sec. 12. Farther illustration of the distant character of mountain
chains. 281
Sec. 13. Their excessive appearance of transparency. 281
Sec. 14. Illustrated from the works of Turner and Stanfield. The
Borromean Islands of the latter. 282
Sec. 15. Turner's Arona. 283
Sec. 16. Extreme distance of large objects always characterized by
very sharp outline. 283
Sec. 17. Want of this decision in Claude. 284
Sec. 18. The perpetual rendering of it by Turner. 285
Sec. 19. Effects of snow, how imperfectly studied. 285
Sec. 20. General principles of its forms on the Alps. 287
Sec. 21. Average paintings of Switzerland. Its real spirit has
scarcely yet been caught. 289

CHAPTER III.--Of the Inferior Mountains.

Sec. 1. The inferior mountains are distinguished from the central, by
being divided into beds. 290
Sec. 2. Farther division of these beds by joints. 290
Sec. 3. And by lines of lamination. 291
Sec. 4. Variety and seeming uncertainty under which these laws are
manifested. 291
Sec. 5. The perfect expression of the