SECTION II.

OF GENERAL TRUTHS.

Chapter I.—Of Truth of Tone.

[§ 1.]Meanings of the word "tone:"—First, the right relation of objects in shadow to the principal light.[140]
[§ 2.]Secondly, the quality of color by which it is felt to owe part of its brightness to the hue of light upon it.[140]
[§ 3.]Difference between tone in its first sense and aerial perspective.[141]
[§ 4.]The pictures of the old masters perfect in relation of middle tints to light.[141]
[§ 5.]And consequently totally false in relation of middle tints to darkness.[141]
[§ 6.]General falsehood of such a system.[143]
[§ 7.]The principle of Turner in this respect.[143]
[§ 8.]Comparison of N. Poussin's "Phocion."[144]
[§ 9.]With Turner's "Mercury and Argus."[145]
[§ 10.]And with the "Datur Hora Quieti."[145]
[§ 11.]The second sense of the word "tone."[146]
[§ 12.]Remarkable difference in this respect between the paintings and drawings of Turner.[146]
[§ 13.]Not owing to want of power over the material.[146]
[§ 14.]The two distinct qualities of light to be considered.[147]
[§ 15.]Falsehoods by which Titian attains the appearance of quality in light.[148]
[§ 16.]Turner will not use such means.[148]
[§ 17.]But gains in essential truth by the sacrifice.[148]
[§ 18.]The second quality of light.[148]
[§ 19.]The perfection of Cuyp in this respect interfered with by numerous solecisms.[150]
[§ 20.]Turner is not so perfect in parts—far more so in the whole.[151]
[§ 21.]The power in Turner of uniting a number of tones.[152]
[§ 22.]Recapitulation.[153]

Chapter II.—Of Truth of Color.

[§ 1.]Observations on the color of G. Poussin's La Riccia.[155]
[§ 2.]As compared with the actual scene.[155]
[§ 3.]Turner himself is inferior in brilliancy to nature.[157]
[§ 4.]Impossible colors of Salvator, Titian.[157]
[§ 5.]Poussin, and Claude.[158]
[§ 6.]Turner's translation of colors.[160]
[§ 7.]Notice of effects in which no brilliancy of art can even approach that of reality.[161]
[§ 8.]Reasons for the usual incredulity of the observer with respect to their representation.[162]
[§ 9.]Color of the Napoleon.[163]
[§ 10.]Necessary discrepancy between the attainable brilliancy of color and light.[164]
[§ 11.]This discrepancy less in Turner than in other colorists.[165]
[§ 12.]Its great extent in a landscape attributed to Rubens.[165]
[§ 13.]Turner scarcely ever uses pure or vivid color.[166]
[§ 14.]The basis of gray, under all his vivid hues.[167]
[§ 15.]The variety and fulness even of his most simple tones.[168]
[§ 16.]Following the infinite and unapproachable variety of nature.[168]
[§ 17.]His dislike of purple, and fondness for the opposition of yellow and black. The principles of nature in this respect.[169]
[§ 18.]His early works are false in color.[170]
[§ 19.]His drawings invariably perfect.[171]
[§ 20.]The subjection of his system of color to that of chiaroscuro.[171]

Chapter III.—Of Truth of Chiaroscuro.

[§ 1.]We are not at present to examine particular effects of light.[174]
[§ 2.]And therefore the distinctness of shadows is the chief means of expressing vividness of light.[175]
[§ 3.]Total absence of such distinctness in the works of the Italian school.[175]
[§ 4.]And partial absence in the Dutch.[176]
[§ 5.]The perfection of Turner's works in this respect.[177]
[§ 6.]The effect of his shadows upon the light.[178]
[§ 7.]The distinction holds good between almost all the works of the ancient and modern schools.[179]
[§ 8.]Second great principle of chiaroscuro. Both high light and deep shadow are used in equal quantity, and only in points.[180]
[§ 9.]Neglect or contradiction of this principle by writers on art.[180]
[§ 10.]And consequent misguiding of the student.[181]
[§ 11.]The great value of a simple chiaroscuro.[182]
[§ 12.]The sharp separation of nature's lights from her middle tint.[182]
[§ 13.]The truth of Turner.[183]

Chapter IV.—Of Truth of Space:—First, as Dependent on the Focus of the Eye.

[§ 1.]Space is more clearly indicated by the drawing of objects than by their hue.[185]
[§ 2.]It is impossible to see objects at unequal distances distinctly at one moment.[186]
[§ 3.]Especially such as are both comparatively near.[186]
[§ 4.]In painting, therefore, either the foreground or distance must be partially sacrificed.[187]
[§ 5.]Which not being done by the old masters, they could not express space.[187]
[§ 6.]But modern artists have succeeded in fully carrying out this principle.[188]
[§ 7.]Especially of Turner.[189]
[§ 8.]Justification of the want of drawing in Turner's figures.[189]

Chapter V.—Of Truth of Space:—Secondly, as its Appearance is dependent on the Power of the Eye.

[§ 1.]The peculiar indistinctness dependent on the retirement of objects from the eye.[191]
[§ 2.]Causes confusion, but not annihilation of details.[191]
[§ 3.]Instances in various objects.[192]
[§ 4.]Two great resultant truths; that nature is never distinct, and never vacant.[193]
[§ 5.]Complete violation of both these principles by the old masters. They are either distinct or vacant.[193]
[§ 6.]Instances from Nicholas Poussin.[194]
[§ 7.]From Claude.[194]
[§ 8.]And G. Poussin.[195]
[§ 9.]The imperative necessity, in landscape painting, of fulness and finish.[196]
[§ 10.]Breadth is not vacancy.[197]
[§ 11.]The fulness and mystery of Turner's distances.[198]
[§ 12.]Farther illustrations in architectural drawing.[199]
[§ 13.]In near objects as well as distances.[199]
[§ 14.]Vacancy and falsehood of Canaletto.[200]
[§ 15.]Still greater fulness and finish in landscape foregrounds.[200]
[§ 16.]Space and size are destroyed alike by distinctness and by vacancy.[202]
[§ 17.]Swift execution best secures perfection of details.[202]
[§ 18.]Finish is far more necessary in landscape than in historical subjects.[202]
[§ 19.]Recapitulation of the section.[203]