§ 1. No necessity for detailed study of ideas of imitation § 2. Nor for separate study of ideas of power § 3. Except under one particular form § 4. There are two modes of receiving ideas of power, commonly incon- § 5. First reason of the inconsistency § 6. Second reason of the inconsistency § 7. The sensation of power ought not to be sought in imperfect art § 8. Instances in pictures of modern artists § 9. Connection between ideas of power and modes of execution § 1. Sublimity is the effect upon the mind of anything above it § 2. Burke's theory of the nature of the sublime incorrect, and why PART II. OF TRUTH. SECTION I. GENERAL PRINCIPLES RESPECTING IDEAS OF TRUTH. CHAPTER I.-Of Ideas of Truth in their connection with those of Beauty and Relation. PAGE § 1. The two great ends of landscape painting are the representation of facts and thoughts 43 § 2. They induce a different choice of material subjects 44 § 3. The first mode of selection apt to produce sameness and repetition 44 § 4. The second necessitating variety 44 § 5. Yet the first is delightful to all 45 49 50 § 8. The exceeding importance of truth § 9. Coldness or want of beauty no sign of truth § 10. How truth may be considered a just criterion of all art CHAPTER II.That the Truth of Nature is not to be discerned by the uneducated Senses. § 1. The common self-deception of men with respect to the power of discerning truth ..... § 2. Men usually see little of what is before their eyes § 3. But more or less in proportion to their natural sensibility to what is beautiful ....... § 4. Connected with a perfect state of moral feeling § 5. And of the intellectual powers § 6. How sight depends upon previous knowledge § 7. The difficulty increased by the variety of truths in nature § 8. We recognise objects by their least important attributes. Compare CHAPTER III. Of the Relative Importance of Truths:First, that particular Truths are more important than General Ones. PAGE § 1. Necessity of determining the relative importance of truths........... 57 § 2. Misapplication of the aphorism: "General truths are more important than particular ones § 3. Falseness of this maxim, taken without explanation 57 58 § 4. Generality important in the subject, particularity in the predicate... 58 5. The importance of truths of species is not owing to their generality § 6. All truths valuable as they are characteristic....... § 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........ 59 60 60 61 62 CHAPTER IV. Of the Relative Importance of Truths:— Secondly, that Rare Truths are more important than Frequent Ones. § 1. No accidental violation of nature's principles should be represented 63 § 2. But the cases in which those principles have been strikingly 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.... 67 § 4. Colour no distinction between objects of the same species................ § 5. And different in association from what it is alone 66 66 § 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 § 9. Recapitulation.. § 2. Form, as explained by light and shade, the first of all truths. Tone, § 1. The different selection of facts consequent on the several aims at imitation or at truth................ § 2. The old masters, as a body, aim only at imitation § 3. What truths they gave......... § 4. The principles of selection adopted by modern artists......... § 5. General feeling of Claude, Salvator, and G. Poussin, contrasted with the freedom and vastness of nature § 6. Inadequacy of the landscape of Titian and Tintoret.... § 7. Causes of its want of influence on subsequent schools § 8. The value of inferior works of art, how to be estimated § 11. The open skies of the religious schools, how valuable. Mountain drawing of Masaccio. Landscape of the Bellinis and Giorgione 83 PAGE § 35. Works of David Roberts: their fidelity and grace § 36. Clarkson Stanfield § 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 125 41. Turner's painting of French and Swiss landscape. The latter defi- 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 § 44. Changes introduced by him in the received system of art § 45. Difficulties of his later manner. Resultant deficiencies § 46. Reflection on his very recent works § 47. Difficulty of demonstration in such subjects 131 ........... 132 134 137 SECTION II. OF GENERAL TRUTHS. CHAPTER I.-Of Truth of Tone. § 1. Meanings of the word "tone:"-First, the right relation of objects in shadow to the principal light § 2. Secondly, the quality of colour by which it is felt to owe part of its brightness to the hue of light upon it 138 138 § 3. Difference between tone in its first sense and aërial perspective § 5. And consequently totally false in relation of middle tints to darkness 139 § 6. General falsehood of such a system § 7. The principle of Turner in this respect § 12. Remarkable difference in this respect between the paintings and drawings of Turner 144 § 13. Not owing to want of power over the material § 14. The two distinct qualities of light to be considered § 15. Falsehoods by which Titian attains the appearance of quality in light 145 144 145 |