Chapter III: , Conclusion.-Modern Art and Modern Criticism

§ 1. The entire prominence hitherto given to the works of one artist caused only by our not being able 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 § 14. How the press may really advance the cause of art.[Page lxxiii] 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. Sketches 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 LIST OF PLATES TO VOLUME I. Page. Casa Contarini Fasan, Venice 111 From a drawing by Ruskin. The Dogana, and Santa Maria della Salute, Venice 136 From a painting by Turner. Okehampton Castle 258 From a painting by Turner. Port Ruysdael 377 From a painting by Turner. [Page 1]

MODERN PAINTERS VOLUME II. CONTAINING PART III., SECTIONS I. AND II. OF THE IMAGINATIVE AND THEORETIC FACULTIES. SYNOPSIS OF CONTENTS.