[§ 1.]The different selection of facts consequent on the several aims at imitation or at truth.[74]
[§ 2.]The old masters, as a body, aim only at imitation.[74]
[§ 3.]What truths they gave.[75]
[§ 4.]The principles of selection adopted by modern artists.[76]
[§ 5.]General feeling of Claude, Salvator, and G. Poussin, contrasted with the freedom and vastness of nature.[77]
[§ 6.]Inadequacy of the landscape of Titian and Tintoret.[78]
[§ 7.]Causes of its want of influence on subsequent schools.[79]
[§ 8.]The value of inferior works of art, how to be estimated.[80]
[§ 9.]Religious landscape of Italy. The admirableness of its completion.[81]
[§ 10.]Finish, and the want of it, how right—and how wrong.[82]
[§ 11.]The open skies of the religious schools, how valuable. Mountain drawing of Masaccio. Landscape of the Bellinis and Giorgione.[84]
[§ 12.]Landscape of Titian and Tintoret.[86]
[§ 13.]Schools of Florence, Milan, and Bologna.[88]
[§ 14.]Claude, Salvator, and the Poussins.[89]
[§ 15.]German and Flemish landscape.[90]
[§ 16.]The lower Dutch schools.[92]
[§ 17.]English school, Wilson and Gainsborough.[93]
[§ 18.]Constable, Callcott.[94]
[§ 19.]Peculiar tendency of recent landscape.[95]
[§ 20.]G. Robson, D. Cox. False use of the term "style."[95]
[§ 21.]Copley Fielding. Phenomena of distant color.[97]
[§ 22.]Beauty of mountain foreground.[99]
[§ 23.]De Wint.[101]
[§ 24.]Influence of Engraving. J. D. Harding.[101]
[§ 25.]Samuel Prout. Early painting of architecture, how deficient.[103]
[§ 26.]Effects of age upon buildings, how far desirable.[104]
[§ 27.]Effects of light, how necessary to the understanding of detail.[106]
[§ 28.]Architectural painting of Gentile Bellini and Vittor Carpaccio.[107]
[§ 29.]And of the Venetians generally.[109]
[§ 30.]Fresco painting of the Venetian exteriors. Canaletto.[110]
[§ 31.]Expression of the effects of age on Architecture by S. Prout.[112]
[§ 32.]His excellent composition and color.[114]
[§ 33.]Modern architectural painting generally. G. Cattermole.[115]
[§ 34.]The evil in an archæological point of view of misapplied invention, in architectural subject.[117]
[§ 35.]Works of David Roberts: their fidelity and grace.[118]
[§ 36.]Clarkson Stanfield.[121]
[§ 37.]J. M. W. Turner. Force of national feeling in all great painters.[123]
[§ 38.]Influence of this feeling on the choice of Landscape subject.[125]
[§ 39.]Its peculiar manifestation in Turner.[125]
[§ 40.]The domestic subjects of the Liber Studiorum.[127]
[§ 41.]Turner's painting of French and Swiss landscape. The latter deficient.[129]
[§ 42.]His rendering of Italian character still less successful. His large compositions how failing.[130]
[§ 43.]His views of Italy destroyed by brilliancy and redundant quantity.[133]
[§ 44.]Changes introduced by him in the received system of art.[133]
[§ 45.]Difficulties of his later manner. Resultant deficiencies.[134]
[§ 46.]Reflection of his very recent works.[137]
[§ 47.]Difficulty of demonstration in such subjects.[139]

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]