CHAPTER II

.--Of Truth of Color.

Sec. 1. Observations on the color of G. Poussin's La Riccia. 155 Sec. 2. As compared with the actual scene. 155 Sec. 3. Turner himself is inferior in brilliancy to nature. 157 Sec. 4. Impossible colors of Salvator, Titian. 157 Sec. 5. Poussin, and Claude. 158 Sec. 6. Turner's translation of colors. 160 Sec. 7. Notice of effects in which no brilliancy of art can even approach that of reality. 161 Sec. 8. Reasons for the usual incredulity of the observer with respect to their representation 162 Sec. 9. Color of the Napoleon. 163 Sec. 10. Necessary discrepancy between the attainable brilliancy of color and light. 164 Sec. 11. This discrepancy less in Turner than in other colorists. 165 Sec. 12. Its great extent in a landscape attributed to Rubens. 165 Sec. 13. Turner scarcely ever uses pure or vivid color. 166 Sec. 14. The basis of gray, under all his vivid hues. 167 Sec. 15. The variety and fulness even of his most simple tones. 168 Sec. 16. Following the infinite and unapproachable variety of nature. 168 Sec. 17. His dislike of purple, and fondness for the opposition of yellow and black. The principles of nature in this respect. 169 Sec. 18. His early works are false in color. 170 Sec. 19. His drawings invariably perfect. 171 Sec. 20. The subjection of his system of color to that of chiaroscuro. 171

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