| §1. | The inferior mountains are distinguished from the central, by being divided into beds. | 290 |
| §2. | Farther division of these beds by joints. | 290 |
| §3. | And by lines of lamination. | 291 |
| §4. | Variety and seeming uncertainty under which these laws are manifested. | 291 |
| §5. | The perfect expression of them in Turner's Loch Coriskin. | 292 |
| §6. | Glencoe and other works. | 293 |
| §7. | Especially the Mount Lebanon. | 293 |
| §8. | Compared with the work of Salvator. | 294 |
| §9. | And of Poussin. | 295 |
| §10. | Effects of external influence on mountain form. | 296 |
| §11. | The gentle convexity caused by aqueous erosion. | 297 |
| §12. | And the effect of the action of torrents. | 297 |
| §13. | The exceeding simplicity of contour caused by these influences. | 298 |
| §14. | And multiplicity of feature. | 299 |
| §15. | Both utterly neglected in ancient art. | 299 |
| §16. | The fidelity of treatment in Turner's Daphne and Leucippus. | 300 |
| §17. | And in the Avalanche and Inundation. | 300 |
| §18. | The rarity among secondary hills of steep slopes or high precipices. | 301 |
| §19. | And consequent expression of horizontal distance in their ascent. | 302 |
| §20. | Full statement of all these facts in various works of Turner.—Caudebec, etc. | 302 |
| §21. | The use of considering geological truths. | 303 |
| §22. | Expression of retiring surface by Turner contrasted with the work of Claude. | 304 |
| §23. | The same moderation of slope in the contours of his higher hills. | 304 |
| §24. | The peculiar difficulty of investigating the more essential truths of hill outline. | 305 |
| §25. | Works of other modern artists.—Clarkson Stanfield. | 305 |
| §26. | Importance of particular and individual truth in hill drawing. | 306 |
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