Then of 'Cloud Flocks,'--upper clouds, detached, bird-like, with flame-like curves, tender, various, pointing, inquiring. And why do they assume these forms? Not driven by eddies of wind, they move along, unhurried, compressed in a phalanx, fifty thousand separate groups in half of a morning sky, all obedient to one rule of harmonious progress. And so of 'Cloud Perspective,' cleverly set forth and illustrated, but appealing perhaps too exclusively to the art-student for transfer here, and of 'Cloud Colours.' Is it well to watch them like Turner? or to neglect them with Claude, Salvator, Ruysdael, Wouvermans, never to look nor portray? Then of the 'Cloud Chariot,' or cumulus,--not to be drawn, not to be explained; even Turner attempted not that. Mountain-like, electric, brilliant beyond power of colour, endless in variety of form, transitory as a dream; and estimates of weight and movement, and of a chariot cloud which soared 20,000 feet from behind Berne Cathedral! Next of the 'Angel of the Sea,' the author's epithet for rain. 'Is English wet weather one of the things which we would desire to see art give perpetuity to?' Assuredly, answers Mr. Ruskin; and under five heads he ranges the climates into which the globe is divided with respect to their fitness for art. See the result:-- Wood lands Shrewd intellect No art. Sand lands High intellect Religious art. Vine lands Highest intellect Perfect art. Field lands High intellect Material art. Moss lands Shrewd intellect No art. The table is worthy of study. The second half of the volume treats of 'Ideas of Relation.' It deals with Art in its relation to God and man, and with its work in the help of human beings and the service of their Creator, and inquires into 'the various powers, conditions, and aims of mind involved in the conception or creation of pictures, in the choice of subject, and the mode and order of its history; the choice of forms, and the modes of their arrangement.' Very forcible and significant are the reflections upon invention, the 'greatest and rarest of all the qualities of art;' and on 'Composition.' If one part be taken away, all the rest are helpless and valueless; yet true composition is inexplicable--to be felt, not reasoned upon. 'A poet or creator is, therefore, a person who puts things together; not as a watchmaker, steel; or a shoemaker, leather: but who puts life into them.'