| §1. | The apparent difference in character between the lower and central clouds is dependent chiefly on proximity. | 244 |
| §2. | Their marked differences in color. | 244 |
| §3. | And in definiteness of form. | 245 |
| §4. | They are subject to precisely the same great laws. | 245 |
| §5. | Value, to the painter, of the rain-cloud. | 246 |
| §6. | The old masters have not left a single instance of the painting of the rain-cloud, and very few efforts at it. Gaspar Poussin's storms. | 247 |
| §7. | The great power of the moderns in this respect. | 248 |
| §8. | Works of Copley Fielding. | 248 |
| §9. | His peculiar truth. | 248 |
| §10. | His weakness, and its probable cause. | 249 |
| §11. | Impossibility of reasoning on the rain-clouds of Turner from engravings. | 250 |
| §12. | His rendering of Fielding's particular moment in the Jumieges. | 250 |
| §13. | Illustration of the nature of clouds in the opposed forms of smoke and steam. | 250 |
| §14. | Moment of retiring rain in the Llanthony. | 251 |
| §15. | And of commencing, chosen with peculiar meaning for Loch Coriskin. | 252 |
| §16. | The drawing of transparent vapor in the Land's End. | 253 |
| §17. | The individual character of its parts. | 253 |
| §18. | Deep-studied form of swift rain-cloud in the Coventry. | 254 |
| §19. | Compared with forms given by Salvator. | 254 |
| §20. | Entire expression of tempest by minute touches and circumstances in the Coventry. | 255 |
| §21. | Especially by contrast with a passage of extreme repose. | 255 |
| §22. | The truth of this particular passage. Perfectly pure blue sky only seen after rain, and how seen. | 256 |
| §23. | Absence of this effect in the works of the old masters. | 256 |
| §24. | Success of our water-color artists in its rendering. Use of it by Turner. | 257 |
| §25. | Expression of near rain-cloud in the Gosport, and other works. | 257 |
| §26. | |
