Chapter IV: , Of the Foreground

§ 1. What rocks were the chief components of ancient landscape foreground. 309 § 2. Salvator's limestones. The real characters of the rock. Its fractures, and obtuseness of angles. 309 § 3. Salvator's acute angles caused by the meeting of concave curves.[Page lxviii] 310 § 4. Peculiar distinctness of light and shade in the rocks of nature. 311 § 5. Peculiar confusion of both in the rocks of Salvator. 311 § 6. And total want of any expression of hardness or brittleness. 311 § 7. Instances in particular pictures. 312 § 8. Compared with the works of Stanfield. 312 § 9. Their absolute opposition in every particular. 313 § 10. The rocks of J. D. Harding. 313 § 11. Characters of loose earth and soil. 314 § 12. Its exceeding grace and fulness of feature. 315 § 13. The ground of Teniers. 315 § 14. Importance of these minor parts and points. 316 § 15. The observance of them is the real distinction between the master and the novice. 316 § 16. Ground of Cuyp. 317 § 17. And of Claude. 317 § 18. The entire weakness and childishness of the latter. 318 § 19. Compared with the work of Turner. 318 § 20. General features of Turner's foreground. 319 § 21. Geological structure of his rocks in the Fall of the Tees. 319 § 22. Their convex surfaces and fractured edges. 319 § 23. And perfect unity. 320 § 24. Various parts whose history is told us by the details of the drawing. 321 § 25. Beautiful instance of an exception to general rules in the Llanthony. 321 § 26. Turner's drawing of detached blocks of weathered stone. 322 § 27. And of complicated foreground. 323 § 28. And of loose soil. 323 § 29. The unison of all in the ideal foregrounds of the Academy pictures. 324 § 30. And the great lesson to be received from all. 324