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§ 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...

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20. His drawing of falling water, with peculiar expression of weight.....

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§ 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....

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369

conce

§ 23. But the continuous stream takes the shape of its bed.. 24. Its exquisite curved lines...

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26. His exquisite drawing of the continuous torrent in the Llanthony Abbey..

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27. And of the interrupted torrent in the Mercury and Argus... 372 28. Various cases.......

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§ 29. Sea painting. Impossibility of truly representing foam..... 373
30. Character of shore-breakers, also inexpressible.....
31. Their effect how injured when seen from the shore...

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§36. General character of sea on a rocky coast given by Turner in

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§ 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
divide. Those of the old masters often do not................
oughs must multiply as they diminish. Those of the old
masters do not......

.............

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.....

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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..

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§ 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.....

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$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
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 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...

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....... 420

How the press may really advance the cause of art..
[orbid fondness at the present day for unfinished works...
y which the public defraud themselves.....
nd in pandering to which, artists ruin themselves..
Tecessity of finishing works of art perfectly......

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

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