PAGE § 5. All reflections on distant water are distinct 357 § 6. The error of Vandcvelde 368 § 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 P § 11. Its united qualities 861 f § 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 865 _ § 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 868 § 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 870 § 24. Its exquisite curved lines 870 § 25. Turner's careful choice of the historical truth 370 § 26. His exquisite drawing of the continuous torrent in the Llan thony 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 878 £ 30. Character of shore-breakers, also inexpressible 874 § 31. Their effect how injured when seen from the shore 375 § 32. Turner's expression of heavy rolling sea 876 § 33. With peculiar expression of weight 376 § 34. Peculiar action of recoiling waves 877 § 35. And of the stroke of a breaker on the shore 377 § 30. 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 883 SECTION VI. OF TRUTH OF VEGETATION.—CONCLUSION. Chapter I.—Of Truth of Vegetation. PAGE § 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 symmet ry 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 FAGE § 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 § 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 bis present works. Their mystery is the consequence of their fulness 413 Chapter III.—Conclusion.—Modern Art and Modern § 1. The entire prominence hitherto given to the works of one artist caused only by our not being abie 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 PAGE § 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. Sketclies 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 |