Chapter II: , Of Truth of Color

§ 1. Observations on the color of G. Poussin's La Riccia. 155 § 2. As compared with the actual scene. 155 § 3. Turner himself is inferior in brilliancy to nature. 157 § 4. Impossible colors of Salvator, Titian. 157 § 5. Poussin, and Claude. 158 § 6. Turner's translation of colors. 160 § 7. Notice of effects in which no brilliancy of art can even approach that of reality. 161 § 8. Reasons for the usual incredulity of the observer with respect to their representation. 162 § 9. Color of the Napoleon. 163 § 10. Necessary discrepancy between the attainable brilliancy of color and light. 164 § 11. This discrepancy less in Turner than in other colorists. 165 § 12. Its great extent in a landscape attributed to Rubens. 165 § 13. Turner scarcely ever uses pure or vivid color. 166 § 14. The basis of gray, under all his vivid hues. 167 § 15. The variety and fulness even of his most simple tones. 168 § 16. Following the infinite and unapproachable variety of nature. 168 § 17. His dislike of purple, and fondness for the opposition of yellow and black. The principles of nature in this respect. 169 § 18. His early works are false in color. 170 § 19. His drawings invariably perfect. 171 § 20. The subjection of his system of color to that of chiaroscuro. 171 Chapter III., Of Truth of Chiaroscuro § 1. We are not at present to examine particular effects of light. 174 § 2. And therefore the distinctness of shadows is the chief means of expressing vividness of light. 175 § 3. Total absence of such distinctness in the works of the Italian school. 175 § 4. And partial absence in the Dutch. 176 § 5. The perfection of Turner's works in this respect. 177 § 6. The effect of his shadows upon the light. 178 § 7. The distinction holds good between almost all the works of the ancient and modern schools. 179 § 8. Second great principle of chiaroscuro. Both high light and deep shadow are used in equal quantity, and only in points. 180 § 9. Neglect or contradiction of this principle by writers on art. 180 § 10. And consequent misguiding of the student. 181 § 11. The great value of a simple chiaroscuro. 182 § 12. The sharp separation of nature's lights from her middle tint. 182 § 13. The truth of Turner. 183 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. 185 § 2. It is impossible to see objects at unequal distances distinctly at one moment. 186 § 3. Especially such as are both comparatively near. 186 § 4. In painting, therefore, either the foreground or distance must be partially sacrificed. 187 § 5. Which not being done by the old masters, they could not express space. 187 § 6. But modern artists have succeeded in fully carrying out this principle. 188 § 7. Especially of Turner. 189 § 8. Justification of the want of drawing in Turner's figures. 189