CHAPTER VII

.--General Application of the Foregoing Principles.

Sec. 1. The different selection of facts consequent on the several aims at imitation or at truth. 74 Sec. 2. The old masters, as a body, aim only at imitation. 74 Sec. 3. What truths they gave. 75 Sec. 4. The principles of selection adopted by modern artists. 76 Sec. 5. General feeling of Claude, Salvator, and G. Poussin, contrasted with the freedom and vastness of nature. 77 Sec. 6. Inadequacy of the landscape of Titian and Tintoret. 78 Sec. 7. Causes of its want of influence on subsequent schools. 79 Sec. 8. The value of inferior works of art, how to be estimated. 80 Sec. 9. Religious landscape of Italy. The admirableness of its completion. 81 Sec. 10. Finish, and the want of it, how right--and how wrong. 82 Sec. 11. The open skies of the religious schools, how valuable. Mountain drawing of Masaccio. Landscape of the Bellinis and Giorgione. 84 Sec. 12. Landscape of Titian and Tintoret. 86 Sec. 13. Schools of Florence, Milan, and Bologna. 88 Sec. 14. Claude, Salvator, and the Poussins. 89 Sec. 15. German and Flemish landscape. 90 Sec. 16. The lower Dutch schools. 92 Sec. 17. English school, Wilson and Gainsborough. 93 Sec. 18. Constable, Callcott. 94 Sec. 19. Peculiar tendency of recent landscape. 95 Sec. 20. G. Robson, D. Cox. False use of the term "style." 95 Sec. 21. Copley Fielding. Phenomena of distant color. 97 Sec. 22. Beauty of mountain foreground. 99 Sec. 23. De Wint. 101 Sec. 24. Influence of Engraving. J. D. Harding. 101 Sec. 25. Samuel Prout. Early painting of architecture, how deficient. 103 Sec. 26. Effects of age upon buildings, how far desirable. 104 Sec. 27. Effects of light, how necessary to the understanding of detail. 106 Sec. 28. Architectural painting of Gentile Bellini and Vittor Carpaccio. 107 Sec. 29. And of the Venetians generally. 109 Sec. 30. Fresco painting of the Venetian exteriors. Canaletto. 110 Sec. 31. Expression of the effects of age on Architecture by S. Prout. 112 Sec. 32. His excellent composition and color. 114 Sec. 33. Modern architectural painting generally. G. Cattermole. 115 Sec. 34. The evil in an archaeological point of view of misapplied invention, in architectural subject. 117 Sec. 35. Works of David Roberts: their fidelity and grace. 118 Sec. 36. Clarkson Stanfield. 121 Sec. 37. J. M. W. Turner. Force of national feeling in all great painters. 123 Sec. 38. Influence of this feeling on the choice of Landscape subject. 125 Sec. 39. Its peculiar manifestation in Turner. 125 Sec. 40. The domestic subjects of the Liber Studiorum. 127 Sec. 41. Turner's painting of French and Swiss landscape. The latter deficient. 129 Sec. 42. His rendering of Italian character still less successful. His large compositions how failing 130 Sec. 43. His views of Italy destroyed by brilliancy and redundant quantity. 133 Sec. 44. Changes introduced by him in the received system of art. 133 Sec. 45. Difficulties of his later manner. Resultant deficiencies. 134 Sec. 46. Reflection of his very recent works. 137 Sec. 47. Difficulty of demonstration in such subjects. 139

SECTION II.

OF GENERAL TRUTHS.

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