Chapter VII: , General Application of the Foregoing Principle

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