| §1. | Extent and typical character of the central cloud region. | 226 |
| §2. | Its characteristic clouds, requiring no attention nor thought for their representation, are therefore favorite subjects with the old masters. | 226 |
| §3. | The clouds of Salvator and Poussin. | 227 |
| §4. | Their essential characters. | 227 |
| §5. | Their angular forms and general decision of outline. | 228 |
| §6. | The composition of their minor curves. | 229 |
| §7. | Their characters, as given by S. Rosa. | 230 |
| §8. | Monotony and falsehood of the clouds of the Italian school generally. | 230 |
| §9. | Vast size of congregated masses of cloud. | 231 |
| §10. | Demonstrable by comparison with mountain ranges. | 231 |
| §11. | And consequent divisions and varieties of feature. | 232 |
| §12. | Not lightly to be omitted. | 232 |
| §13. | Imperfect conceptions of this size and extent in ancient landscape. | 233 |
| §14. | Total want of transparency and evanescence in the clouds of ancient landscape. | 234 |
| §15. | Farther proof of their deficiency in space. | 235 |
| §16. | Instance of perfect truth in the sky of Turner's Babylon. | 236 |
| §17. | And in his Pools of Solomon. | 237 |
| §18. | Truths of outline and character in his Como. | 237 |
| §19. | Association of the cirrostratus with the cumulus. | 238 |
| §20. | The deep-based knowledge of the Alps in Turner's Lake of Geneva. | 238 |
| §21. | Farther principles of cloud form exemplified in his Amalfi. | 239 |
| §22. | Reasons for insisting on the infinity of Turner's works. Infinity is almost an unerring test of all truth[Page lxiv] | 239 |
| §23. | Instances of the total want of it in the works of Salvator. | 240 |
| §24. | And of the universal presence of it in those of Turner. The conclusions which may be arrived at from it. | 240 |
| §25. | The multiplication of objects, or increase of their size, will not give the impression of infinity, but is the resource of novices. | 241 |
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