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.