PAGE § 5. All reflections on distant water are distinct... 357 § 6. The error of Vandevelde...... 358 7. Difference in arrangement of parts between the reflected ob ject 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...... OF T CHAPTER I.-O 1. Frequen 361 ters.. § 12. Relation of various circumstances of past agitation, &c., by the most trifling incidents, as in the Cowes...... 363 § 2. Laws c taper 13. In scenes on the Loire and Seine.. 363 14. Expression of contrary waves caused by recoil from shore... 364 15. Various other instances...... §3. Appear 4. And car 364 § 16. Turner's painting of distant expanses of water.-Calm, interrupted by ripple... 20. His drawing of falling water, with peculiar expression of weight..... § 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 conce § 23. But the continuous stream takes the shape of its bed.. 24. Its exquisite curved lines... 26. His exquisite drawing of the continuous torrent in the Llanthony Abbey.. 27. And of the interrupted torrent in the Mercury and Argus... 372 28. Various cases....... § 29. Sea painting. Impossibility of truly representing foam..... 373 §36. General character of sea on a rocky coast given by Turner in § 39. Turner's noblest work, the painting of the deep open sea in the Slave Ship........ $29. His bri 382 $30. His bo § 40. Its united excellences and perfection as a whole... 383 SECTION VI. OF TRUTH OF VEGETATION.-CONCLUSION. --Of Truth of Vegetation. equent occurrence of foliage in the works of the old masters...... PAGE 384 -ws common to all forest trees. Their branches do not taper, but only divide........ 385 Opearance of tapering caused by frequent buds... 385 nd care of nature to conceal the parallelism..... 386 e degree of tapering which may be represented as continuous..... 386 he trees of Gaspar Poussin..... 386 nd of the Italian school generally, defy this law... he truth, as it is given by J. D. Harding..... 387 387 oughs, in consequence of this law, must diminish where they ............. 388 389 ough-drawing of Salvator..... 390 Il these errors especially shown in Claude's sketches, and concentrated in a work of G. Poussin's. ..... 391 possibility of the angles of boughs being taken out of them by wind..... he near leafage of Claude. His middle distances are good.. 399 niversal termination of trees in symmetrical curves.... 400 Itogether unobserved by the old masters. Always given by Turner..... oliage painting on the Continent.... oliage of J. D. Harding. Its deficiencies.. § 35. Conclusion. Works of J. Linnel and S. Palmer.. § 34. Hunt and Creswick. Green, how to be rendered expressive of light, and offensive if otherwise..... § 31. Local color, how far expressible in black and white, and with what advantage.... § 32. Opposition between great manner and great knowledge.... 406 § 33. Foliage of Cox, Fielding, and Cattermole..... PAGE $14. How th 404 15. Morbid $16 By wh 406 $17. And in $18. Necessi 407 $19. Sketches 407 $20. Brillian toler 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 21. The du $22. Necessi $23. What s 24. Duty of 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. § 5. There is nothing in his works which can be enjoyed without knowledge..... 411 411 § 8. Standing of his present works. Their mystery is the consequence of their fulness... 6. And nothing which knowledge will not enable us to enjoy... 412 § 7. His former rank and progress...... 412 413 CHAPTER III.-Conclusion. Modern Art and Modern § 1. The entire prominence hitherto given to the works of one 414 § 2. The feelings of different artists are incapable of full compari 415 son..... 3. But the fidelity and truth of each are capable of real compari 415 son § 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... PAGE ....... 420 How the press may really advance the cause of art.. ketches not sufficiently encouraged.. Brilliancy of execution or efforts at invention not to be 420 421 421 421 422 422 423 Tecessity among our greater artists of more singleness of aim. 423 What should be their general aim.... 425 tolerated in young artists...... 'he duty and after privileges of all students.. Duty of the press with respect to the works of Turner.... 427 |