Chapter V.—Effects of Light rendered by Modern Art.
| § 1. | Reasons for merely, at present, naming, without examining the particular effects of light rendered by Turner. | 266 |
| § 2. | Hopes of the author for assistance in the future investigation of them. | 266 |
SECTION IV.
OF TRUTH OF EARTH.
Chapter I.—Of General Structure.
| § 1. | First laws of the organization of the earth, and their importance in art. | 270 |
| § 2. | The slight attention ordinarily paid to them. Their careful study by modern artists. | 271 |
| § 3. | General structure of the earth. The hills are its action, the plains its rest. | 271 |
| § 4. | Mountains come out from underneath the plains, and are their support. | 272 |
| § 5. | Structure of the plains themselves. Their perfect level, when deposited by quiet water. | 273 |
| § 6. | Illustrated by Turner's Marengo. | 273 |
| § 7. | General divisions of formation resulting from this arrangement. Plan of investigation. | 274 |
Chapter II.—Of the Central Mountains.
| § 1. | Similar character of the central peaks in all parts of the world. | 275 |
| § 2. | Their arrangements in pyramids or wedges, divided by vertical fissures. | 275 |
| § 3. | Causing groups of rock resembling an artichoke or rose. | 276 |
| § 4. | The faithful statement of these facts by Turner in his Alps at Daybreak. | 276 |
| § 5. | Vignette of the Andes and others. | 277 |
| § 6. | Necessary distance, and consequent aerial effect on all such mountains. | 277 |
| § 7. | Total want of any rendering of their phenomena in ancient art. | 278 |
| § 8. | Character of the representations of Alps in the distances of Claude. | 278 |
| § 9. | Their total want of magnitude and aerial distance. | 279 |
| § 10. | And violation of specific form. | 280 |
| § 11. | Even in his best works. | 280 |
| § 12. | Farther illustration of the distant character of mountain chains. | 281 |
| § 13. | Their excessive appearance of transparency. | 281 |
| § 14. | Illustrated from the works of Turner and Stanfield. The Borromean Islands of the latter. | 282 |
| § 15. | Turner's Arona. | 283 |
| § 16. | Extreme distance of large objects always characterized by very sharp outline. | 283 |
| § 17. | Want of this decision in Claude. | 284 |
| § 18. | The perpetual rendering of it by Turner. | 285 |
| § 19. | Effects of snow, how imperfectly studied. | 285 |
| § 20. | General principles of its forms on the Alps. | 287 |
| § 21. | Average paintings of Switzerland. Its real spirit has scarcely yet been caught. | 289 |
Chapter III.—Of the Inferior Mountains.
| § 1. | The inferior mountains are distinguished from the central, by being divided into beds. | 290 |
| § 2. | Farther division of these beds by joints. | 290 |
| § 3. | And by lines of lamination. | 291 |
| § 4. | Variety and seeming uncertainty under which these laws are manifested. | 291 |
| § 5. | The perfect expression of them in Turner's Loch Coriskin. | 292 |
| § 6. | Glencoe and other works. | 293 |
| § 7. | Especially the Mount Lebanon. | 293 |
| § 8. | Compared with the work of Salvator. | 294 |
| § 9. | And of Poussin. | 295 |
| § 10. | Effects of external influence on mountain form. | 296 |
| § 11. | The gentle convexity caused by aqueous erosion. | 297 |
| § 12. | And the effect of the action of torrents. | 297 |
| § 13. | The exceeding simplicity of contour caused by these influences. | 298 |
| § 14. | And multiplicity of feature. | 299 |
| § 15. | Both utterly neglected in ancient art. | 299 |
| § 16. | The fidelity of treatment in Turner's Daphne and Leucippus. | 300 |
| § 17. | And in the Avalanche and Inundation. | 300 |
| § 18. | The rarity among secondary hills of steep slopes or high precipices. | 301 |
| § 19. | And consequent expression of horizontal distance in their ascent. | 302 |
| § 20. | Full statement of all these facts in various works of Turner.—Caudebec, etc. | 302 |
| § 21. | The use of considering geological truths. | 303 |
| § 22. | Expression of retiring surface by Turner contrasted with the work of Claude. | 304 |
| § 23. | The same moderation of slope in the contours of his higher hills. | 304 |
| § 24. | The peculiar difficulty of investigating the more essential truths of hill outline. | 305 |
| § 25. | Works of other modern artists.—Clarkson Stanfield. | 305 |
| § 26. | Importance of particular and individual truth in hill drawing. | 306 |
| § 27. | Works of Copley Fielding. His high feeling. | 307 |
| § 28. | Works of J. D. Harding and others. | 308 |
Chapter IV.—Of the Foreground.
| § 1. | What rocks were the chief components of ancient landscape foreground. | 309 |
| § 2. | Salvator's limestones. The real characters of the rock. Its fractures, and obtuseness of angles. | 309 |
| § 3. | Salvator's acute angles caused by the meeting of concave curves. | 310 |
| § 4. | Peculiar distinctness of light and shade in the rocks of nature. | 311 |
| § 5. | Peculiar confusion of both in the rocks of Salvator. | 311 |
| § 6. | And total want of any expression of hardness or brittleness. | 311 |
| § 7. | Instances in particular pictures. | 312 |
| § 8. | Compared with the works of Stanfield. | 312 |
| § 9. | Their absolute opposition in every particular. | 313 |
| § 10. | The rocks of J. D. Harding. | 313 |
| § 11. | Characters of loose earth and soil. | 314 |
| § 12. | Its exceeding grace and fulness of feature. | 315 |
| § 13. | The ground of Teniers. | 315 |
| § 14. | Importance of these minor parts and points. | 316 |
| § 15. | The observance of them is the real distinction between the master and the novice. | 316 |
| § 16. | Ground of Cuyp. | 317 |
| § 17. | And of Claude. | 317 |
| § 18. | The entire weakness and childishness of the latter. | 318 |
| § 19. | Compared with the work of Turner. | 318 |
| § 20. | General features of Turner's foreground. | 319 |
| § 21. | Geological structure of his rocks in the Fall of the Tees. | 319 |
| § 22. | Their convex surfaces and fractured edges. | 319 |
| § 23. | And perfect unity. | 320 |
| § 24. | Various parts whose history is told us by the details of the drawing. | 321 |
| § 25. | Beautiful instance of an exception to general rules in the Llanthony. | 321 |
| § 26. | Turner's drawing of detached blocks of weathered stone. | 322 |
| § 27. | And of complicated foreground. | 323 |
| § 28. | And of loose soil. | 323 |
| § 29. | The unison of all in the ideal foregrounds of the Academy pictures. | 324 |
| § 30. | And the great lesson to be received from all. | 324 |
SECTION V.
OF TRUTH OF WATER.
Chapter I.—Of Water, as Painted by the Ancients.
| § 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 |
SECTION VI.
OF TRUTH OF VEGETATION.—CONCLUSION.
Chapter I.—Of Truth of Vegetation.
| § 1. | Frequent occurrence of foliage in the works of the old masters. | 384 |
| § 2. | Laws common to all forest trees. Their branches do not taper, but only divide. | 385 |
| § 3. | Appearance of tapering caused by frequent buds. | 385 |
| § 4. | And care of nature to conceal the parallelism. | 386 |
| § 5. | The degree of tapering which may be represented as continuous. | 386 |
| § 6. | The trees of Gaspar Poussin. | 386 |
| § 7. | And of the Italian school generally, defy this law. | 387 |
| § 8. | The truth, as it is given by J. D. Harding. | 387 |
| § 9. | Boughs, in consequence of this law, must diminish where they divide. Those of the old masters often do not. | 388 |
| § 10. | Boughs must multiply as they diminish. Those of the old masters do not. | 389 |
| § 11. | Bough-drawing of Salvator. | 390 |
| § 12. | All these errors especially shown in Claude's sketches, and concentrated in a work of G. Poussin's. | 391 |
| § 13. | Impossibility of the angles of boughs being taken out of them by wind. | 392 |
| § 14. | Bough-drawing of Titian. | 392 |
| § 15. | Bough-drawing of Turner. | 394 |
| § 16. | Leafage. Its variety and symmetry. | 394 |
| § 17. | Perfect regularity of Poussin. | 395 |
| § 18. | Exceeding intricacy of nature's foliage. | 396 |
| § 19. | How contradicted by the tree-patterns of G. Poussin. | 396 |
| § 20. | How followed by Creswick. | 397 |
| § 21. | Perfect unity in nature's foliage. | 398 |
| § 22. | Total want of it in Both and Hobbima. | 398 |
| § 23. | How rendered by Turner. | 399 |
| § 24. | The near leafage of Claude. His middle distances are good. | 399 |
| § 25. | Universal termination of trees in symmetrical curves. | 400 |
| § 26. | Altogether unobserved by the old masters. Always given by Turner. | 401 |
| § 27. | Foliage painting on the Continent. | 401 |
| § 28. | Foliage of J. D. Harding. Its deficiencies. | 402 |
| § 29. | His brilliancy of execution too manifest. | 403 |
| § 30. | His bough-drawing, and choice of form. | 404 |
| § 31. | Local color, how far expressible in black and white, and with what advantage. | 404 |
| § 32. | Opposition between great manner and great knowledge. | 406 |
| § 33. | Foliage of Cox, Fielding, and Cattermole. | 406 |
| § 34. | Hunt and Creswick. Green, how to be rendered expressive of light, and offensive if otherwise. | 407 |
| § 35. | Conclusion. Works of J. Linnel and S. Palmer. | 407 |
Chapter II.—General remarks respecting the Truth of Turner.
| § 1. | No necessity of entering into discussion of architectural truth. | 409 |
| § 2. | Extreme difficulty of illustrating or explaining the highest truth. | 410 |
| § 3. | The positive rank of Turner is in no degree shown in the foregoing pages, but only his relative rank. | 410 |
| § 4. | The exceeding refinement of his truth. | 411 |
| § 5. | There is nothing in his works which can be enjoyed without knowledge. | 411 |
| § 6. | And nothing which knowledge will not enable us to enjoy. | 412 |
| § 7. | His former rank and progress. | 412 |
| § 8. | Standing of his present works. Their mystery is the consequence of their fulness. | 413 |
Chapter III.—Conclusion.—Modern Art and Modern Criticism.
| § 1. | The entire prominence hitherto given to the works of one artist caused only by our not being able to take cognizance of character. | 414 |
| § 2. | The feelings of different artists are incapable of full comparison. | 415 |
| § 3. | But the fidelity and truth of each are capable of real comparison. | 415 |
| § 4. | Especially because they are equally manifested in the treatment of all subjects. | 415 |
| § 5. | No man draws one thing well, if he can draw nothing else. | 416 |
| § 6. | General conclusions to be derived from our past investigation. | 417 |
| § 7. | Truth, a standard of all excellence. | 417 |
| § 8. | Modern criticism. Changefulness of public taste. | 418 |
| § 9. | Yet associated with a certain degree of judgment. | 418 |
| § 10. | Duty of the press. | 418 |
| § 11. | Qualifications necessary for discharging it. | 418 |
| § 12. | General incapability of modern critics. | 419 |
| § 13. | And inconsistency with themselves. | 419 |
| § 14. | How the press may really advance the cause of art. | 420 |
| § 15. | Morbid fondness at the present day for unfinished works. | 420 |
| § 16. | By which the public defraud themselves. | 421 |
| § 17. | And in pandering to which, artists ruin themselves. | 421 |
| § 18. | Necessity of finishing works of art perfectly. | 421 |
| § 19. | Sketches not sufficiently encouraged. | 422 |
| § 20. | Brilliancy of execution or efforts at invention not to be tolerated in young artists. | 422 |
| § 21. | The duty and after privileges of all students. | 423 |
| § 22. | Necessity among our greater artists of more singleness of aim. | 423 |
| § 23. | What should be their general aim. | 425 |
| § 24. | Duty of the press with respect to the works of Turner. | 427 |