TABLE OF CONTENTS.

PART IV.

OF MANY THINGS.

PAGE
Chapter I.—[Of the received Opinions touching the "Grand Style"] 1
"II.—[Of Realization]16
"III.—[Of the Real Nature of Greatness of Style]23
"IV.—[Of the False Ideal:—First, Religious]44
"V.—[Of the False Ideal:—Secondly, Profane]61
"VI.—[Of the True Ideal:—First, Purist]70
"VII.—[Of the True Ideal:—Secondly, Naturalist]77
"VIII.—[Of the True Ideal:—Thirdly, Grotesque]92
"IX.—[Of Finish]108
"X.—[Of the Use of Pictures]124
"XI.—[Of the Novelty of Landscape]144
"XII.—[Of the Pathetic Fallacy]152
"XIII.—[Of Classical Landscape]168
"XIV.—[Of Mediæval Landscape:—First, the Fields]191
"XV.—[Of Mediæval Landscape:—Secondly, the Rocks]229
"XVI.—[Of Modern Landscape]248
"XVII.—[The Moral of Landscape]280
"XVIII.—[Of the Teachers of Turner]308

APPENDIX.

I.—[Claude's Tree-drawing]333
II.—[German Philosophy]336
III.—[Plagiarism]338

LIST OF PLATES TO VOL. III.

Drawn by Engraved by
[Frontispiece. Lake, Land, and Cloud.] The Author J. C. Armytage.

Plate

Facing page
1. [True and False Griffins]The AuthorR. P. Cuff106
2. [Drawing of Tree-bark]VariousJ. H. Le Keux114
3. [Strength of old Pine]The AuthorJ. H. Le Keux116
4. [Ramification according to Claude]ClaudeJ. H. Le Keux117
5. [Good and Bad Tree-drawing]Turner and Constable J. Cousen118
6. [Foreground Leafage]The AuthorJ. C. Armytage121
7. [Botany of the Thirteenth Century]Missal-PaintersHenry Shaw203
8. [The Growth of Leaves]The AuthorR. P. Cuff204
9. [Botany of the Fourteenth Century]Missal-PaintersCuff; H. Swan207
10. [Geology of the Middle Ages]Leonardo, etc.R. P. Cuff238
11. [Latest Purism]RaphaelJ. C. Armytage313
12. [The Shores of Wharfe]J. W. M. TurnerThe Author314
13. [First Mountain-Naturalism]MasaccioJ. H. Le Keux315
14. [The Lombard Apennine]The AuthorThos. Lupton315
15. [St. George of the Seaweed]The AuthorThos. Lupton315
16. [Early Naturalism]TitianJ. C. Armytage316
17. [Advanced Naturalism]TintoretJ. C. Armytage316

PREFACE.

As this preface is nearly all about myself, no one need take the trouble of reading it, unless he happens to be desirous of knowing—what I, at least, am bound to state,—the circumstances which have caused the long delay of the work, as well as the alterations which will be noticed in its form.