CHAPTER III.-Of the Relative Importance of Truths:First, that particular Truths are more important than General Ones. § 1. Necessity of determining the relative importance of truths. PAGE 57 § 2. Misapplication of the aphorism: "General truths are more important than particular ones 57 4. Generality important in the subject, particularity in the predicate.. 58 § 5. The importance of truths of species is not owing to their generality 59 60 § 7. Otherwise truths of species are valuable, because beautiful § 8. And many truths, valuable if separate, may be objectionable in connection with others............. § 9. Recapitulation. 61 62 CHAPTER IV. Of the Relative Importance of Truths:- than Frequent Ones. § 1. No accidental violation of nature's principles should be represented § 2. But the cases in which those principles have been strikingly exemplified. CHAPTER V. Of the Relative Importance of Truths:Thirdly, that Truths of Colour are the least important of all Truths. § 1. Difference between primary and secondary qualities in bodies.. § 2. The first are fully characteristic; the second imperfectly so § 3. Colour is a secondary quality, therefore less important than form § 4. Colour no distinction between objects of the same species § 5. And different in association from what it is alone..... § 6. It is not certain whether any two people see the same colours in things 68 § 7. Form, considered as an element of landscape, includes light and shade 68 § 8. Importance of light and shade in expressing the character of bodies, and unimportance of colour CHAPTER VI.-Recapitulation. PAGE 1. The importance of historical truths 71 S 2. Form, as explained by light and shade, the first of all truths. Tone, light, and colour, are secondary 71 § 3. And deceptive chiaroscuro the lowest of all 72 CHAPTER VII.-General Application of the foregoing Prin ciples. § 1. The different selection of facts consequent on the several aims at imitation or at truth 73 2233 74 75 5. General feeling of Claude, Salvator, and G. Poussin, contrasted with 80 81 § 9. Religious landscape of Italy. The admirableness of its completion § 10. Finish, and the want of it, how right-and how wrong § 25. Samuel Prout. Early painting of architecture, how deficient 101 § 26. Effects of age upon buildings, how far desirable.. 102 § 27. Effects of light, how necessary to the understanding of detail 104 § 28. Architectural painting of Gentile Bellini and Vittor Carpaccio § 29. And of the Venetians generally 106 107 § 30. Fresco painting of the Venetian exteriors. Canaletto 108 § 31. Expression of the effects of age on architecture, by S. Prout 110 § 32. His excellent composition and colour 112 § 33. Modern architectural painting generally. G. Cattermole 113 § 34. The evil, in an archæological point of view, of misapplied invention in architectural subject 115 § 37. J. M. W. Turner. Force of national feeling in all great painters........ § 38. Influence of this feeling on the choice of landscape subject § 39. Its peculiar manifestation in Turner § 40. The domestic subjects of the Liber Studiorum PAGE 116 118 120 123 123 125 § 41. Turner's painting of French and Swiss landscape. The latter deficient 127 § 42. His rendering of Italian character still less successful. His large compositions, how failing 128 § 43. His views of Italy destroyed by brilliancy and redundant quantity.. 130 § 1. Meanings of the word "tone: "-First, the right relation of objects in shadow to the principal light 138 § 2. Secondly, the quality of colour by which it is felt to owe part of its brightness to the hue of light upon it... 138 3. Difference between tone in its first sense and aërial perspective 139 § 4. The pictures of the old masters perfect in relation of middle tints to light.......... 139 § 5. And consequently totally false in relation of middle tints to darkness...... 139 § 6. General falsehood of such a system 141 § 12. Remarkable difference in this respect between the paintings and drawings of Turner 144 § 13. Not owing to want of power over the material 144 § 14. The two distinct qualities of light to be considered 145 § 15. Falsehoods by which Titian attains the appearance of quality in light 145 § 19. The perfection of Cuyp in this respect interfered with by numerous solecisms. 147 § 20. Turner is not so perfect in parts-far more so in the whole.. 149 § 7. Notice of effects in which no brilliancy of art can even approach that of reality.. 158 § 8. Reasons for the usual incredulity of the observer with respect to their representation.. 159 § 9. Colour of the Napoleon 160 § 10. Necessary discrepancy between the attainable brilliancy of colour and light.. 161 § 16. Following the infinite and unapproachable variety of nature 165 § 17. His dislike of purple, and fondness for the opposition of yellow and black. The principles of nature in this respect 166 § 18. His early works are false in colour 167 § 19. His drawings invariably perfect § 20. The subjection of his system of colour to that of chiaroscuro 168 168 CHAPTER III.-Of Truth of Chiaroscuro. S § 1. We are not at present to examine particular effects of light........ 2. And therefore the distinctness of shadows is the chief means of expressing vividness of light 171 172 3. Total absence of such distinctness in the works of the Italian School. 4. A partial absence in the Dutch 172 173 § 7. The distinction holds good between almost all the works of the ancient and modern schools 175 § 8. Second great principle of chiaroscuro. shadow are used in equal quantity, and only in points § 9. Neglect or contradiction of this principle by writers on art.. § 10. And consequent misguiding of the student 11. The great value of a simple chiaroscuro PAGE Both high light and deep 177 177 178 178 179 180 § 12. The sharp separation of nature's lights from her middle tint. § 13. The truth of Turner CHAPTER IV.-Of Truth of Space :-First, as dependent on the Focus of the Eye. 1. Space is more clearly indicated by the drawing of objects than by their hue 182 § 2. It is impossible to see objects at unequal distances distinctly at one § 4. In painting, therefore, either the foreground or distance must be partially sacrificed 184 § 5. Which not being done by the old masters, they could not express space 184 § 6. But modern artists have succeeded in fully carrying out this principle. 184 7. Especially of Turner 186 § 8. Justification of the want of drawing in Turner's figures 186 CHAPTER V.-Of Truth of Space :-Secondly, as its Appearance is dependent on the Power of the Eye. § 1. The peculiar indistinctness dependent on the retirement of objects from the eye § 2. Causes confusion, but not annihilation of details 188 188 § 3. Instances in various objects 189 § 4. Two great resultant truths; that nature is never distinct, and never vacant 190 § 5. Complete violation of both these principles by the old masters. They are either distinct or vacant.. § 9. The imperative necessity, in landscape painting, of fulness and finish 193 § 16. Space and size are destroyed alike by distinctness and by vacancy... 198 |