[30] I have left this passage as it stood originally, because it is right as far as it goes; yet it speaks with too little respect of symbolism, which is often of the highest use in religious art, and in some measure is allowable in all art. In the works of almost all the greatest masters there are portions which are explanatory rather than representative, and typical rather than imitative; nor could these be parted with but at infinite loss. Note, with respect to the present question, the daring black sunbeams of Titian, in his woodcut of St. Francis receiving the stigmata, and compare here Part III. Sect. II. Chap. IV. § 18; Chap. V. § 13. And though I believe that I am right in considering all such symbolism as out of place in pure landscape, and in attributing that of Claude to ignorance or inability, and not to feeling, yet I praise Turner not so much for his absolute refusal to represent the spiky ray about the sun, as for his perceiving and rendering that which Claude never perceived, the multitudinous presence of radiating light in the upper sky and on all its countless ranks of subtile cloud.
CHAPTER II.
OF TRUTH OF CLOUDS:—FIRST, OF THE REGION OF THE CIRRUS.
Our next subject of investigation must be the specific character of clouds, a species of truth which is especially neglected by artists; first, because as it is within the limits of possibility [§ 1. Difficulty of ascertaining wherein the truth of clouds consists.]that a cloud may assume almost any form, it is difficult to point out and not always easy to feel, where in error consists; and secondly, because it is totally impossible to study the forms of clouds from nature with care and accuracy, as a change in the subject takes place between every touch of the following pencil, and parts of an outline sketched at different instants cannot harmonize, nature never having intended them to come together. Still if artists were more in the habit of sketching clouds rapidly, and as accurately as possible in the outline, from nature, instead of daubing down what they call "effects" with the brush, they would soon find there is more beauty about their forms than can be arrived at by any random felicity of invention, however brilliant, and more essential character than can be violated without incurring the charge of falsehood,—falsehood as direct and definite, though not as traceable as error in the less varied features of organic form.
The first and most important character of clouds, is dependent on the different altitudes at which they are formed. The atmosphere may be conveniently considered as divided into [§ 2. Variation of their character at different elevations. The three regions to which they may conveniently be considered as belonging.]three spaces, each inhabited by clouds of specific character altogether different, though, in reality there is no distinct limit fixed between them by nature, clouds being formed at every altitude, and partaking according to their altitude, more or less of the characters of the upper or lower regions. The scenery of the sky is thus formed of an infinitely graduated series of systematic forms of cloud, each of which has its own region in which alone it is formed, and each of which has specific characters which can only be properly determined by comparing them as they are found clearly distinguished by intervals of considerable space. I shall therefore consider the sky as divided into three regions—the upper region, or region of the cirrus; the central region, or region of the stratus; the lower region, or the region of the rain-cloud.
The clouds which I wish to consider as included in the upper region, never touch even the highest mountains of Europe, and [§ 3. Extent of the upper region.]may therefore be looked upon as never formed below an of at least 15,000 feet; they are the motionless multitudinous lines of delicate vapor with which the blue of the open sky is commonly streaked or speckled after several days of fine weather. I must be pardoned for giving a detailed description of their specific characters as they are of constant occurrence in the works of modern artists, and I shall have occasion to speak frequently of them in future parts [§ 4. The symmetrical arrangement of its clouds.]of the work. Their chief characters are—first, Symmetry: They are nearly always arranged in some definite and evident order, commonly in long ranks reaching sometimes from the zenith to the horizon, each rank composed of an infinite number of transverse bars of about the same length, each bar thickest in the middle, and terminating in a traceless vaporous point at each side; the ranks are in the direction of the wind, and the bars of course at right angles to it; these latter are commonly slightly bent in the middle. Frequently two systems of this kind, indicative of two currents of wind, at different altitudes intersect one another, forming a network. Another frequent arrangement is in groups of excessively fine, silky, parallel fibres, commonly radiating, or having a tendency to radiate, from one of their extremities, and terminating in a plumy sweep at the other:—these are vulgarly known as "mares' tails." The plumy and expanded extremity of these is often bent upwards, sometimes back and up again, giving an appearance of great flexibility and unity at the same time, as if the clouds were tough, and would hold together however bent. The narrow extremity is invariably turned to the wind, and the fibres are parallel with its direction. The upper clouds always fall into some modification of one or other of these arrangements. They thus differ from all other clouds, in having a plan and system; whereas other clouds, though there are certain laws which they cannot break, have yet perfect freedom from anything like a relative and general system of government. The upper clouds are to the lower, what soldiers on parade are to a mixed multitude; no men walk on their heads or their hands, and so there are certain laws which no clouds violate; but there is nothing except in the upper clouds resembling symmetrical discipline.
Secondly, Sharpness of Edge: The edges of the bars of the upper clouds which are turned to the wind, are often the sharpest which the sky shows; no outline whatever of any other kind [§ 5. Their exceeding delicacy.]of cloud, however marked and energetic, ever approaches the delicate decision of these edges. The outline of a black thunder-cloud is striking, from the great energy of the color or shade of the general mass; but as a line, it is soft and indistinct, compared with the edge of the cirrus, in a clear sky with a brisk breeze. On the other hand, the edge of the bar turned away from the wind is always soft, often imperceptible, melting into the blue interstice between it and its next neighbor. Commonly the sharper one edge is, the softer is the other, and the clouds look flat, and as if they slipped over each other like the scales of a fish. When both edges are soft, as is always the case when the sky is clear and windless, the cloud looks solid, round, and fleecy.
Thirdly, Multitude: The delicacy of these vapors is sometimes carried into such an infinity of division, that no other sensation of number that the earth or heaven can give is so [§ 6. Their number.]impressive. Number is always most felt when it is symmetrical, (vide Burke on "Sublime," Part ii. sect. 8,) and, therefore, no sea-waves nor fresh leaves make their number so evident or so impressive as these vapors. Nor is nature content with an infinity of bars or lines alone—each bar is in its turn severed into a number of small undulatory masses, more or less connected according to the violence of the wind. When this division is merely effected by undulation, the cloud exactly resembles sea-sand ribbed by the tide; but when the division amounts to real separation we have the mottled or mackerel skies. Commonly, the greater the division of its bars, the broader and more shapeless is the rank or field, so that in the mottled sky it is lost altogether, and we have large irregular fields of equal size, masses like flocks of sheep; such clouds are three or four thousand feet below the legitimate cirrus. I have seen them cast a shadow on the Mont Blanc at sunset, so that they must descend nearly to within fifteen thousand feet of the earth.