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Turner, The Moon Behind Clouds: (Study for ‘Shields Lighthouse’) (c.1823–1826, Tate)

But the preparation for the judgement, by all that mighty gathering of the clouds; by the questioning of the forest leaves, in their terrified stillness, which way the winds shall go forth; by the murmuring to each other, deep in the distance, of the destroying angels before they draw forth their swords of fire; by the march of the funeral darkness in the midst of the noon-day, and the rattling of the dome of heaven beneath the chariot wheels of death;-on how many minds do not these produce an impression almost as great as the actual witnessing of the fatal issue! and how strangely are the expressions of the threatening elements fitted to the apprehension of the human soul! The lurid colour, the long, irregular, convulsive sound, the ghastly shapes of flaming and heaving cloud, are all as true and faithful in their appeal to our instinct of danger, as the moaning or wailing of the human voice itself is to our instinct of pity. It is not a reasonable calculating terror which they awake in us; it is no matter that we count distance by seconds, and measure probability by averages. That shadow of the thunder-cloud will still do its work upon our hearts, and we shall watch it passing away as if we stood upon the threshing-floor of Araunah.

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Ruskin, Champagnole (1846, Yale Centre for British Art)

Ruskin, Modern Painters II, 163 – 164