| [§ 1.] | Sketch of the functions and infinite agency of water. | [325] |
| [§ 2.] | The ease with which a common representation of it may be given. The impossibility of a faithful one. | [325] |
| [§ 3.] | Difficulty of properly dividing the subject. | [326] |
| [§ 4.] | Inaccuracy of study of water-effect among all painters. | [326] |
| [§ 5.] | Difficulty of treating this part of the subject. | [328] |
| [§ 6.] | General laws which regulate the phenomena of water. First, The imperfection of its reflective surface. | [329] |
| [§ 7.] | The inherent hue of water modifies dark reflections, and does not affect right ones. | [330] |
| [§ 8.] | Water takes no shadow. | [331] |
| [§ 9.] | Modification of dark reflections by shadow. | [332] |
| [§ 10.] | Examples on the waters of the Rhone. | [333] |
| [§ 11.] | Effect of ripple on distant water. | [335] |
| [§ 12.] | Elongation of reflections by moving water. | [335] |
| [§ 13.] | Effect of rippled water on horizontal and inclined images. | [336] |
| [§ 14.] | To what extent reflection is visible from above. | [336] |
| [§ 15.] | Deflection of images on agitated water. | [337] |
| [§ 16.] | Necessity of watchfulness as well as of science. Licenses, how taken by great men. | [337] |
| [§ 17.] | Various licenses or errors in water painting of Claude, Cuyp, Vandevelde. | [339] |
| [§ 18.] | And Canaletto. | [341] |
| [§ 19.] | Why unpardonable. | [342] |
| [§ 20.] | The Dutch painters of sea. | [343] |
| [§ 21.] | Ruysdael, Claude, and Salvator. | [344] |
| [§ 22.] | Nicolo Poussin. | [345] |
| [§ 23.] | Venetians and Florentines. Conclusion. | [346] |
chapter II.—Of Water, as Painted by the Moderns.
| [§ 1.] | General power of the moderns in painting quiet water. The lakes of Fielding. | [348] |
| [§ 2.] | The calm rivers of De Wint, J. Holland, &c. | [348] |
| [§ 3.] | The character of bright and violent falling water. | [349] |
| [§ 4.] | As given by Nesfield. | [349] |
| [§ 5.] | The admirable water-drawing of J. D. Harding. | [350] |
| [§ 6.] | His color; and painting of sea. | [350] |
| [§ 7.] | The sea of Copley Fielding. Its exceeding grace and rapidity. | [351] |
| [§ 8.] | Its high aim at character. | [351] |
| [§ 9.] | But deficiency in the requisite quality of grays. | [352] |
| [§ 10.] | Variety of the grays of nature. | [352] |
| [§ 11.] | Works of Stanfield. His perfect knowledge and power. | [353] |
| [§ 12.] | But want of feeling. General sum of truth presented by modern art. | [353] |
Chapter III.—Of Water, as Painted by Turner.
| [§ 1.] | The difficulty of giving surface to smooth water. | [355] |
| [§ 2.] | Is dependent on the structure of the eye, and the focus by which the reflected rays are perceived. | [355] |
| [§ 3.] | Morbid clearness occasioned in painting of water by distinctness of reflections. | [356] |
| [§ 4.] | How avoided by Turner. | [357] |
| [§ 5.] | All reflections on distant water are distinct. | [357] |
| [§ 6.] | The error of Vandevelde. | [358] |
| [§ 7.] | Difference in arrangement of parts between the reflected object and its image. | [359] |
| [§ 8.] | Illustrated from the works of Turner. | [359] |
| [§ 9.] | The boldness and judgment shown in the observance of it. | [360] |
| [§ 10.] | The texture of surface in Turner's painting of calm water. | [361] |
| [§ 11.] | Its united qualities. | [361] |
| [§ 12.] | Relation of various circumstances of past agitation, &c., by the most trifling incidents, as in the Cowes. | [363] |
| [§ 13.] | In scenes on the Loire and Seine. | [363] |
| [§ 14.] | Expression of contrary waves caused by recoil from shore. | [364] |
| [§ 15.] | Various other instances. | [364] |
| [§ 16.] | Turner's painting of distant expanses of water.—Calm, interrupted by ripple. | [365] |
| [§ 17.] | And rippled, crossed by sunshine. | [365] |
| [§ 18.] | His drawing of distant rivers. | [366] |
| [§ 19.] | And of surface associated with mist. | [367] |
| [§ 20.] | His drawing of falling water, with peculiar expression of weight. | [367] |
| [§ 21.] | The abandonment and plunge of great cataracts. How given by him. | [368] |
| [§ 22.] | Difference in the action of water, when continuous and when interrupted. The interrupted stream fills the hollows of its bed. | [369] |
| [§ 23.] | But the continuous stream takes the shape of its bed. | [370] |
| [§ 24.] | Its exquisite curved lines. | [370] |
| [§ 25.] | Turner's careful choice of the historical truth. | [370] |
| [§ 26.] | His exquisite drawing of the continuous torrent in the Llanthony Abbey. | [371] |
| [§ 27.] | And of the interrupted torrent in the Mercury and Argus. | [372] |
| [§ 28.] | Various cases. | [372] |
| [§ 29.] | Sea painting. Impossibility of truly representing foam. | [373] |
| [§ 30.] | Character of shore-breakers, also inexpressible. | [374] |
| [§ 31.] | Their effect how injured when seen from the shore. | [375] |
| [§ 32.] | Turner's expression of heavy rolling sea. | [376] |
| [§ 33.] | With peculiar expression of weight. | [376] |
| [§ 34.] | Peculiar action of recoiling waves. | [377] |
| [§ 35.] | And of the stroke of a breaker on the shore. | [377] |
| [§ 36.] | General character of sea on a rocky coast given by Turner in the Land's End. | [378] |
| [§ 37.] | Open seas of Turner's earlier time. | [379] |
| [§ 38.] | Effect of sea after prolonged storm. | [380] |
| [§ 39.] | Turner's noblest work, the painting of the deep open sea in the Slave Ship. | [382] |
| [§ 40.] | Its united excellences and perfection as a whole. | [383] |