OF TRUTH OF CLOUDS :-SECONDLY, OF THE CENTRAL CLOUD REGION.

§1. Extent and

WE have next to investigate the character of the Central Cloud Region, which I consider as including all clouds which are the usual characteristic of ordinary serene weather, and which touch and envelop the mountains of typical character Switzerland, but never affect those of our own cloud region. island; they may therefore be considered as occupying a space of air ten thousand feet in height, extending from five to fifteen thousand feet above the sea.

These clouds, according to their elevation, appear with great variety of form, often partaking of the streaked or mottled character of the higher region, and as often, when the precursors of storm, manifesting forms closely connected with the lowest rain clouds; but the species especially characteristic of the central region is a white, ragged, irregular, and scattered vapor, which has little form and less color, and of which a good example may be seen in the largest landscape of Cuyp, in the Dulwich Gallery. When this vapor collects into masses, it is partially rounded, clumsy, and ponderous, as if it would tumble out of the sky, shaded with a dull gray, and totally devoid of any appearance of energy or motion. Even in nature, these clouds are comparatively uninteresting, scarcely worth raising our heads to look at; and on canvas, valuable $2. Its characteristic clouds, re- only as a means of introducing light, and breaking tion nor thought the monotony of blue; yet they are, perhaps, tation, are there- beyond all others the favorite clouds of the Dutch jects with the old masters. Whether they had any motive for the adoption of such materials, beyond the extreme facility with which acres of canvas might thus be covered without any troublesome exertion of thought; or any temptation to such selections beyond the impossibility of error where nature

quiring no atten

for their represen

fore favorite sub

masters.

shows no form, and the impossibility of deficiency where she shows no beauty, it is not here the place to determine. Such skies are happily beyond the reach of criticism, for he who tells you nothing cannot tell you a falsehood. A little flake-white, glazed with a light brush over the carefully toned blue, permitted to fall into whatever forms chance might determine, with the single precaution that their edges should be tolerably irregular, supplied, in hundreds of instances, a sky quite good enough for all ordinary purposes-quite good enough for cattle to graze, or boors to play at nine-pins under-and equally devoid of all that could gratify, inform, or offend.

§ 3. The clouds

Poussin.

But although this kind of cloud is, as I have said, typical of the central region, it is not one which nature is fond of. She scarcely ever lets an hour pass without some manifestation of finer forms, sometimes approaching the upper of Salvator and cirri, sometimes the lower cumulus. And then in the lower outlines, we have the nearest approximation which nature ever presents to the clouds of Claude, Salvator, and Poussin, to the characters of which I must request especial attention, as it is here only that we shall have a fair opportunity of comparing their skies with those of the modern school. I shall, as before, glance rapidly at the great laws of specific form, and so put it in the power of the reader to judge for himself of the truth of representation.

tial characters.

Clouds, it is to be remembered, are not so much local vapor, as vapor rendered locally visible by a fall of temperature. Thus a cloud, whose parts are in constant motion, will hover on a $4. Their essen- snowy mountain, pursuing constantly the same track upon its flanks, and yet remaining of the same size, the same form, and in the same place, for half a day together. No matter how violent or how capricious the wind may be, the instant it approaches the spot where the chilly influence of the snow extends, the moisture it carries becomes visible, and then and there the cloud forms on the instant, apparently maintaining its form against the wind, though the careful and keen eye can see all its parts in the most rapid motion across the mountain. The outlines of such a cloud are of course not determined by the irregular impulses of the wind, but by the fixed lines of radiant heat which regulate the tem

perature of the atmosphere of the mountain.

It is terminated, therefore, not by changing curves, but by steady right lines of more or less decision, often exactly correspondent with the outline of the mountain on which it is formed, and falling therefore into grotesque peaks and precipices. I have seen the marked and angular outline of the Grandes Jorasses, at Chamounix, mimicked in its every jag by a line of clouds above it. Another resultant phenomenon is the formation of cloud in the calm air to leeward of a steep summit; cloud whose edges are in rapid motion, where they are affected by the current of the wind above, and stream from the peak like the smoke of a volcano, yet always vanish at a certain distance from it as steam issuing from a chimney. When wet weather of some duration is approaching, a small white spot of cloud will sometimes. appear low on the hill flanks; it will not move, but will increase gradually for some little time, then diminish, still without moving; disappear altogether, reappear ten minutes afterwards, exactly in the same spot; increase to a greater extent than before, again disappear, again return, and at last permanently; other similar spots of cloud forming simultaneously, with various fluctuations, each in its own spot, and at the same level on the hill-side, until all expand, join together. and form an unbroken veil of threatening gray, which darkens gradually into storm. What in such cases takes place palpably and remarkably, is more or less a law of formation in all clouds. whatsoever; they being bounded rather by lines expressive of changes of temperature in the atmosphere, than by the impulses of the currents of wind in which those changes take place. Even when in rapid and visible motion across the sky, the variations which take place in their outlines are not so much alterations of position and arrangement of parts, as they are the alternate formation and disappearance of parts. There is, therefore, usually a parallelism and consistency in their great § 5. Their angular outlines, which give system to the smaller curves forms and general of which they are composed; and if these great lines be taken, rejecting the minutiae of variation, the resultant form will almost always be angular, and full of character and decision. In the flock-like fields of equal masses, each individual mass has the effect, not of an ellipse or circle,

decision of Out

line.

out of a rhomboid; the sky is crossed and checkered, not honeycombed in the lower cumuli, even though the most. rounded of all clouds, the groups are not like balloons or buboles, but like towers or mountains. And the result of this arrangement in masses more or less angular, varied with, and chiefly constructed of, curves of the utmost freedom and beauty. is that appearance of exhaustless and fantastic energy which gives every cloud a marked character of its own, suggesting resemblances to the specific outlines of organic objects. I do not say that such accidental resemblances are a character to be imitated; but merely that they bear witness to the originality and vigor of separate conception in cloud forms, which give to the scenery of the sky a force and variety no less delightful than that of the changes of mountain outline in a hill district of great elevation; and that there is added to this a spirit-like feeling, a capricious, mocking imagery of passion and life, totally different from any effects of inanimate form that the earth can show.

6. The composi

curves.

The minor contours, out of which the larger outlines are composed, are indeed beautifully curvilinear; but they are never monotonous in their curves. First comes a concave line, then a convex one, then an angular jag, breaking off tion of their minor into spray, then a downright straight line, then a curve again, then a deep gap, and a place where all is lost and melted away, and so on; displaying in every inch of the form renewed and ceaseless invention, setting off grace with rigidity, and relieving flexibility with force, in a manner scarcely less admirable, and far more changeful than even in the muscular forms of the human frame. Nay, such is the exquisite composition of all this, that you may take any single fragment of any cloud in the sky, and you will find it put together as if there had been a year's thought over the plan of it, arranged with the most studied inequality-with the most delicate symmetry-with the most elaborate contrast, a picture in itself. You may try every other piece of cloud in the heaven, and you will find them every one as perfect, and yet not one in the least like another.

Now it may perhaps, for anything we know, or have yet proved, be highly expedient and proper, in art, that this variety,

$7. Their char

by S. Rosa.

individuality, and angular character should be changed into a mass of convex curves, each precisely like its acters, as given neighbor in all respects, and unbroken from beginning to end;-it may be highly original, masterly, bold, whatever you choose to call it; but it is false. I do not take upon me to assert that the clouds which in ancient Germany were more especially and peculiarly devoted to the business of catching princesses off desert islands, and carrying them to enchanted castles, might not have possessed something of the pillowy organization which we may suppose best adapted for functions of such delicacy and dispatch. But I do mean to say that the clouds which God sends upon his earth as the ministers of dew, and rain, and shade, and with which he adorns his heaven, setting them in its vault for the thrones of his spirits, have not in one instant or atom of their existence, one feature in common with such conceptions and creations. And there are, beyond dispute, more direct and unmitigated falsehoods told, and more laws of nature set at open defiance in one of the "rolling" skies of Salvator, such as that marked 159 in the Dulwich Gallery, than were ever attributed, even by the ignorant and unfeeling, to all the wildest flights of Turner put together.

the clouds of the

And it is not as if the error were only occasional. It is systematic and constant in all the Italian masters of the seventeenth century, and in most of the Dutch. They looked at clouds as at everything else which did not particu$ 8. Monotony and falsehood of larly help them in their great end of deception, Italian School with utter carelessness and bluntness of feeling,generally. saw that there were a great many rounded passages in them,—found it much easier to sweep circles than to design beauties, and sat down in their studies, contented with perpetual repetitions of the same spherical conceptions, having about the same relation to the clouds of nature, that a child's carving of a turnip has to the head of the Apollo. Look at the round things about the sun in the bricky Claude, the smallest of the three Seaports in the National Gallery. They are a great deal more like half-crowns than clouds. Take the ropy, tough-looking wreath in the Sacrifice of Isaac, and find one part of it, if you can, which is not the repetition of every other part