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 them in Turner's Loch Coriskin. 292 Sec. 6. Glencoe and other works. 293 Sec. 7. Especially the Mount Lebanon. 293 Sec. 8. Compared with the work of Salvator. 294 Sec. 9. And of Poussin. 295 Sec. 10. Effects of external influence on mountain form. 296 Sec. 11. The gentle convexity caused by aqueous erosion. 297 Sec. 12. And the effect of the action of torrents. 297 Sec. 13. The exceeding simplicity of contour caused by these influences. 298 Sec. 14. And multiplicity of feature. 299 Sec. 15. Both utterly neglected in ancient art. 299 Sec. 16. The fidelity of treatment in Turner's Daphne and Leucippus. 300 Sec. 17. And in the Avalanche and Inundation. 300 Sec. 18. The rarity among secondary hills of steep slopes or high precipices. 301 Sec. 19. And consequent expression of horizontal distance in their ascent. 302 Sec. 20. Full statement of all these facts in various works of Turner.--Caudebec, etc. 302 Sec. 21. The use of considering geological truths. 303 Sec. 22. Expression of retiring surface by Turner contrasted with the work of Claude. 304 Sec. 23. The same moderation of slope in the contours of his higher hills. 304 Sec. 24. The peculiar difficulty of investigating the more essential truths of hill outline. 305 Sec. 25. Works of other modern artists.--Clarkson Stanfield. 305 Sec. 26. Importance of particular and individual truth in hill drawing. 306 Sec. 27. Works of Copley Fielding. His high feeling. 307 Sec. 28. Works of J. D. Harding and others. 308

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