e truth of this particular passage. Perfectly pure blue sky only seen after rain, and how seen..... PAGE 256 sence of this effect in the works of the old masters.. 256 ccess of our water-color artists in its rendering. by Turner.... pression of near rain-cloud in the Gosport, and other works...... ontrasted with Gaspar Poussin's rain-cloud in the Dido and Eneas.... arner's power of rendering mist. Use of it 257 ... 257 258 258 is effects of mist so perfect, that if not at once understood, they can no more be explained or reasoned on than nature herself...... 259 eneral character of such effects as given by Turner. His expression of falling rain.... 261 ecapitulation of the section... 261 ketch of a few of the skies of nature, taken as a whole, compared with the works of Turner and of the old mas V.-Effects of Light rendered by Modern Art. Reasons for merely, at present, naming, without examining 266 SECTION IV. OF TRUTH OF EARTH. I.-Of General Structure. First laws of the organization of the earth, and their importance in art.. 270 The slight attention ordinarily paid to them. Their careful study by modern artists.. 271 M § 3. General structure of the earth. The hills are its action, the plains its rest. § 4. Mountains come out from underneath the plains, and are their support. . . . § 5. Structure of the plains themselves. Their perfect level, when deposited by quiet water.. § 6. Illustrated by Turner's Marengo.. § 7. General divisions of formation resulting from this arrangement. Plan of investigation.... CHAPTER II. Of the Central Mountains. $9. And of § 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..... § 4. The faithful statement of these facts by Turner in his Alps at Daybreak..... 276 14. And m $15. Both u 276 $16. The fid § 5. Vignette of the Andes and others... 277 $17. And in § 6. Necessary distance, and consequent aerial effect on all such mountains... 7. Total want of any rendering of their phenomena in ancient $19. And c art. ... 278 ...... ascer § 8. Character of the representations of Alps in the distances of Claude..... § 9. Their total want of magnitude and aerial distance. 279 21. The us § 10. And violation of specific form...... 280 § 11. Even in his best works.... 280 22. Expres worl ..... § 12. Farther illustration of the distant character of mountain chains... 281 § 13. Their excessive appearance of transparency.... 281 23. The sa hills § 14. Illustrated from the works of Turner and Stanfield. The Borromean Islands of the latter.... § 15. Turner's Arona...... 283 25. Works § 16. Extreme distance of large objects always characterized by very sharp outline.... § 21. Average paintings of Switzerland. Its real spirit has scarcely yet been caught.... 289 1. What fore 2. Salvat fract III.—Of the Inferior Mountains. The inferior mountains are distinguished from the central, by being divided into beds...... PAGE 290 he perfect expression of them in Turner's Loch Coriskin... 292 "he exceeding simplicity of contour caused by these influ The fidelity of treatment in Turner's Daphne and Leucippus. 300 nd in the Avalanche and Inundation...... 300 'he rarity among secondary hills of steep slopes or high precipices..... 301 ... nd consequent expression of horizontal distance in their ascent... 302 "ull statement of all these facts in various works of Turner. -Caudebec, etc.. 302 The use of considering geological truths.. 303 Expression of retiring surface by Turner contrasted with the work of Claude........ 304 'he same moderation of slope in the contours of his higher hills..... 304 he peculiar difficulty of investigating the more essential truths of hill outline.... 305 Works of other modern artists.-Clarkson Stanfield... 305 mportance of particular and individual truth in hill drawing. 306 Vorks of Copley Fielding. His high feeling... 307 Vorks of J. D. Harding and others... 308 IV. Of the Foreground. What rocks were the chief components of ancient landscape foreground..... 309 alvator's limestones. The real characters of the rock. Its fractures, and obtuseness of angles.. § 3. Salvator's acute angles caused by the meeting of concave curves... PAGE 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.... § 8. Compared with the works of Stanfield.. $6. Gener Th 7. The i not 8. Wate 312 9. Modi 10. Exam 312 § 9. Their absolute opposition in every particular. 313 $11. Effec § 10. The rocks of J. D. Harding........ 313 12. Elong § 11. Characters of loose earth and soil.. 314 $13. Effec § 12. Its exceeding grace and fulness of feature.. 315 §14. To w § 13. The ground of Teniers...... 315 15. Defle § 14. Importance of these minor parts and points.. 316 16. Neces 15. The observance of them is the real distinction between the § 18. The entire weakness and childishness of the latter. 19. Compared with the work of Turner..... 318 $ 19. Why 318 20. The D § 20. General features of Turner's foreground........ 319 $21. Ruysc § 21. Geological structure of his rocks in the Fall of the Tees..... 319 § 22. Their convex surfaces and fractured edges.. § 23. And perfect unity..... 320 CHAPTER II. § 24. Various parts whose history is told us by the details of the drawing... 25. Beautiful instance of an exception to general rules in the 321 § 26. Turner's drawing of detached blocks of weathered stone.. § 27. And of complicated foreground... 322 323 28. And of loose soil.... .. . 323 lak 2. The c 3. The c 4. As gi $5. The a § 29. The unison of all in the ideal foregrounds of the Academy pictures..... CHAPTER I.-Of Water, as Painted by the Ancients. § 1. Sketch of the functions and infinite agency of water. 4. Inaccuracy of study of water-effect among all painters... 326 328 9. But d 10. Vari $11. Work 12. But mo - CHAPTER III. 1. The C §2. Is dej wh 3. Morb nes 4. How PAGE eneral laws which regulate the phenomena of water. First, The imperfection of its reflective surface... 329 'he inherent hue of water modifies dark reflections, and does ffect of rippled water on horizontal and inclined images. . 336 'o what extent reflection is visible from above.... Deflection of images on agitated water.... 336 337 Tecessity of watchfulness as well as of science. Licenses, how taken by great men.... .. . 337 Various licenses or errors in water painting of Claude, Cuyp, 339 General power of the moderns in painting quiet water. lakes of Fielding.... The calm rivers of De Wint, J. Holland, &c.. The 348 348 The sea of Copley Fielding. Its exceeding grace and rapidity. 351 Works of Stanfield. His perfect knowledge and power... 358 But want of feeling. General sum of truth presented by modern art. . 353 III. Of Water, as Painted by Turner. The difficulty of giving surface to smooth water... 355 is dependent on the structure of the eye, and the focus by which the reflected rays are perceived...... . . . . 355 Morbid clearness occasioned in painting of water by distinctness of reflections...... 356 How avoided by Turner.. 357 |