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 color by which it is felt to owe part of its brightness to the hue of light upon it.

§ 3. Difference between tone in its first sense and aerial perspective.

§ 4. The pictures of the old masters perfect in relation of middle tints to light.

§ 5. And consequently totally false in relation of middle tints to darkness.

§ 6. General falsehood of such a system.

§ 7. The principle of Turner in this respect.

§ 8. Comparison of N. Poussin's "Phocion."

§ 9. With Turner's "Mercury and Argus."

§ 10. And with the "Datur Hora Quieti."

§ 11. The second sense of the word "tone."

§ 12. Remarkable difference in this respect between the paintings and drawings of Turner.

§ 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.

§ 16. Turner will not use such means.

§ 17. But gains in essential truth by the sacrifice.

§ 18. The second quality of light.

§ 19. The perfection of Cuyp in this respect interfered with by numerous solecisms.

§ 20. Turner is not so perfect in parts—far more so in the whole.

§ 21. The power in Turner of uniting a number of tones.

§ 22. Recapitulation.

Chapter II.—Of Truth of Color.

§ 1. Observations on the color of G. Poussin's La Riccia.

§ 2. As compared with the actual scene.

§ 3. Turner himself is inferior in brilliancy to nature.

§ 4. Impossible colors of Salvator, Titian.

§ 5. Poussin, and Claude.

§ 6. Turner's translation of colors.

§ 7. Notice of effects in which no brilliancy of art can even approach that of reality.

§ 8. Reasons for the usual incredulity of the observer with respect to their representation.

§ 9. Color of the Napoleon.

§ 10. Necessary discrepancy between the attainable brilliancy of color and light.

§ 11. This discrepancy less in Turner than in other colorists.

§ 12. Its great extent in a landscape attributed to Rubens.

§ 13. Turner scarcely ever uses pure or vivid color.

§ 14. The basis of gray, under all his vivid hues.

§ 15. The variety and fulness even of his most simple tones.

§ 16. Following the infinite and unapproachable variety of nature.

§ 17. His dislike of purple, and fondness for the opposition of yellow and black. The principles of nature in this respect.

§ 18. His early works are false in color.

§ 19. His drawings invariably perfect.

§ 20. The subjection of his system of color to that of chiaroscuro.

Chapter III.—Of Truth of Chiaroscuro.

§ 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.

§ 3. Total absence of such distinctness in the works of the Italian school.

§ 4. And partial absence in the Dutch.

§ 5. The perfection of Turner's works in this respect.

§ 6. The effect of his shadows upon the light.

§ 7. The distinction holds good between almost all the works of the ancient and modern schools.

§ 8. Second great principle of chiaroscuro. Both high light and deep 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.

§ 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.

§ 2. It is impossible to see objects at unequal distances distinctly at one moment.

§ 3. Especially such as are both comparatively near.

§ 4. In painting, therefore, either the foreground or distance must be partially sacrificed.

§ 5. Which not being done by the old masters, they could not express space.

§ 6. But modern artists have succeeded in fully carrying out this principle.

§ 7. Especially of Turner.

§ 8. Justification of the want of drawing in Turner's figures.

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.

§ 3. Instances in various objects.

§ 4. Two great resultant truths; that nature is never distinct, and never vacant.

§ 5. Complete violation of both these principles by the old masters. They are either distinct or vacant.

§ 6. Instances from Nicholas Poussin.

§ 7. From Claude.

§ 8. And G. Poussin.

§ 9. The imperative necessity, in landscape painting, of fulness and finish.

§ 10. Breadth is not vacancy.

§ 11. The fulness and mystery of Turner's distances.

§ 12. Farther illustrations in architectural drawing.

§ 13. In near objects as well as distances.

§ 14. Vacancy and falsehood of Canaletto.

§ 15. Still greater fulness and finish in landscape foregrounds.

§ 16. Space and size are destroyed alike by distinctness and by vacancy.

§ 17. Swift execution best secures perfection of details.

§ 18. Finish is far more necessary in landscape than in historical subjects.

§ 19. Recapitulation of the section.