Modern painters : their superiority in the art of landscape painting to all the ancient masters, proved by examples of the true, the beautiful, and the intellectual from the works of modern artists, especially from those of J. M. W. Turner

Front matter

HJIPI pin Ml* I III au u J L

MODERN PAINTERS.

MODERN PAINTERS

Preface

The work now laid before the public originated in indignation at the shallow and false criticisms of the periodicals of the day on the works of the great living artist to whom it principally refers. It was intended to be a short pamphlet, reprobating the matter and style of those critiques, and pointing out their perilous tendency, as guides of public feeling. But, as point after point presented itself for demonstration, I found myself compelled to amplify what was at first a letter to the Editor of a Review, into something very like a treatise on art, to which I was obliged to give the more consistency and completeness, because it advocated opinions which, to the ordinary connoisseur, will sound heretical. I now scarcely know whether I should announce it as an Essay on Landscape Painting, and apologize for its frequent reference to the works of a particular master ; or, announcing it as a critique on particular works, apologize for its lengthy discussion of ge-

Vlll

Pr.EFACE.

neral principles. But of whatever character the work may be considered, the motives which led me to undertake it must not be mistaken. No zeal for the reputation of any individual, no personal feeling of any kind, has the slightest weight or influence with me. The reputation of the great artist to whose works I have chiefly referred, is established on too legitimate grounds among all whose admiration is honourable, to be in any way affected by the ignorant sarcasms of pretension and affectation. But when public taste seems plunging deeper and deeper into degradation day by day, and when the press universally exerts such power as it possesses to direct the feeling of the nation more completely to all that is theatrical, affected and false in art ; while it vents its ribald buffooneries on the most exalted truth, and the highest ideal of landscape, that this or any other age has ever witnessed, it becomes the imperative duty of all who have any perception or knowledge of what is really great in art, and any desire for its advancement in England, to come fearlessly forward, regardless of such individual interests as are likely to be injured by the knowledge of what is good and right, to declare and demonstrate, wherever they exist, the essence and the authority of the Beautiful and the True.

Whatever may seem invidious or partial in the execution of my task is dependent not so much on the tenour of the work, as on its incompleteness.

PREFACE.

IX

I have not entered into systematic criticism of all the painters of the present day \ but I have illustrated each particular excellence and truth of art by the works in which it exists in the highest degree, resting satisfied that if it be once rightly felt and enjoyed in these, it will be discovered and appreciated wherever it exists in others. And although I have never suppressed any conviction of the superiority of one artist over another, which I believed to be grounded on truth, and necessary to the understanding of truth, I have been cautious never to undermine positive rank, while I disputed relative rank. My uniform desire and aim has been, not that the present favourite should be admired less, but that the neglected master should be admired more. And I know that an increased perception and sense of truth and beauty, though it may interfere with our estimate of the comparative rank of painters, will invariably tend to increase our admiration of all who are really great ; and he who now places Stanfield and Callcott above Turner, will admire Stanfield and Callcott more than he does now, when he has learned to place Turner far above them both.

In three instances only have I spoken in direct depreciation of the works of living artists, and these are all cases in which the reputation is so firm and extended, as to suffer little injury from the opinion of an individual, and where the blame has been

X

PREFACE.

warranted and deserved by the desecration of tlie highest powers.

Of the old masters 1 have spoken with far greater freedom ; but let it be remembered that only a portion of the work is now presented to the public, and it must not be supposed, because in that particular portion, and with reference to particular excellencies, I have spoken in constant depreciation, that I have no feeling of other excellencies of which cognizance can only be taken in future parts of the work. Let me not be understood to mean more than I have said, nor be made responsible for conclusions when I have only stated facts. I have said that the old masters did not give the truth of Nature ; if the reader chooses, thence, to infer that they were not masters at all, it is his conclusion? not mine.

Whatever I have asserted throughout the work, I have endeavoured to ground altogether on demonstrations which must stand or fall by their own strength, and which ought to involve no more reference to authority or character than a demonstration in Euclid. Yet it is proper for the public to know, that the writer is no mere theorist, but has been devoted from his youth to the laborious study of practical art.

Whatever has been generally affirmed of the old

PREFACE.

XI schools of landscape-painting is founded on familiar acquaintance with every important work of art, from Antwerp to Naples. But it would be useless, where close and immediate comparison with works in our own Academy is desirable, to refer to the details of pictures at Rome or Munich ; and it would be impossible to speak at once with just feeling, as regarded the possessor; and just freedom, as regarded the public, of pictures in private galleries. Whatever particular references have been made for illustration, have been therefore confined, as far as was in my power, to works in the National and Dulwich Galleries.

Finally, I have to apologise for the imperfection of a work which I could have wished not to have executed, but with years of reflection and revisal. It is owing to my sense of the necessity of such revisal, thut only a portion of the work is now presented to the public ; but that portion is both complete in itself, and is more peculiarly directed against the crying evil which called for instant remedy. Whether I ever completely fulfil my intention, will partly depend upon the spirit in which the present volume is received. If it be attributed to an invidious spirit, or a desire for the advancement of individual interests, I could hope to effect little good by farther effort. If, on the contrary, its real feeling and intention be understood, I shall shrink from no labour in the execution of a task

XU

PREFACE.

which may tend, however feebly, to the advancement of 'the cause of real art in England, and to the honour of those great living Masters whom we now neglect or malign, to pour our flattery into the ear of Death, and exalt, with vain acclamation, the names of those who neither demand our praise, nor regard our gratitude.

The Author.

SYNOPSIS OF CONTENTS.

Chapter I. — Introductory. page

§ 1. Public opinion no criterion of excellence, except after long

periods of time 1

§ 2. And therefore obstinate when once formed 4

§ 3. The author’s reasons for opposing it in particular instances . . 5

§ 4. But only on points capable of demonstration G

§ 5. The author’s partiality to modern works excusable 7

Chapter II. — Definition of Greatness in Art

§ 1 . Distinction between the painter’s intellectual power and technical knowledge 9

§ 2. Painting, as such, is nothing than language 9

§ 3. “ Painter,” a term corresponding to “ versifier” 10

§ 4. Example in a painting of E. Landseer’s 10

$ 6. Difficulty of fixing an exact limit between language and

thought 11

$ 6. Distinction between decorative and expressive language .... 11

§ 7. Instance in the Dutch and early Italian schools 12

§ 8. Yet there are certain ideas belonging to language itself 13

$ 9. The definition 13

Chapter III. — Of Ideas of Power

§ 1. What classes of ideas are conveyable by art 15

$ 2. Ideas of power vary much in relative dignity 15

$ 3. But are received from whatever has been the subject of power 16

XIV

Contents

§ 4. What ia necessary to the distinguishing of excellence 18

§ 5. The pleasure attendant on conquering difficulties is right .... 18

Chapter IV. — Of Ideas of Imitation

§ 1 . False use of the term “ imitation” by many writers on art . . 20

§ 2. Real meaning of the term 21

§ 3. What is requisite to the sense of imitation 21

$ 4. The pleasure resulting from imitation the most contemptible

that can be derived from art 22-

§ 5. Imitation is only of contemptible subjects 23

$6. Imitation is contemptible because it is easy 23

Chapter V. — Of Ideas of Truth

§1. Meaning of the word “truth” as applied to art 25

§ 2. First difference between truth and imitation 25

§ 3. Second difference 25

§ 4. Third difference 26

§5. No accurate truths necessary to imitation 26

§ 6. Ideas of truth are inconsistent with ideas of imitation 29

Chapter VI. — Of Ideas of Beauty

§ 1. Definition of the term “beautiful” 31

§ 2. Definition of the term “ taste ” 32

§3. Distinction between taste and judgment 32

$ 4. How far beauty may become intellectual 32

$ 5. The high rank and function of ideas of beauty 33

§ 6. Meaning of the term “ ideal beauty ” 33

Chapter VII. — Of Ideas of Relation

§ 1. General meaning of the term 35

§ 2. What ideas are to be comprehended under it 35

§ 3. The exceeding nobility of these ideas 36

§ 4. Why no subdivision of so extensive a class is necessary .... 37

Chapter I. — General Principles respecting Ideas of Power

§ 1. No necessity for detailed study of ideas of imitation 38

§ 2. Nor for separate study of ideas of power 38

§ 3. Except under one particular form 39

§ 4. There are two modes of receiving ideas of power, commonly

inconsistent 39

$ 5. First reason of the inconsistency 40

CONTENTS.

XV

<5 0. Second reason for the inconsistency. 40

§ 7. The sensation of power ought not to be sought in imperfect

art 41

§ 8. Instance in pictures of modern artists 41

§ 9. Connection between ideas of power and modes of execution 42

Chapter II. — Of Ideas of Power, as they are dependent upon Execution

§ 1 . Meaning of the term “ execution ” 43

§ 2. The first quality of execution is truth 43

§ 3. The second, simplicity 44

^ 4. The third, mystery 44

§ 5. The fourth, inadequacy ; and the fifth, decision 44

§ 6. The sixth, velocity 44

§ 7. Strangeness an illegitimate source of pleasure in execution. . 45

^ 8. Yet even the legitimate sources of pleasure in execution are

inconsistent with each other 46

§ 9. And fondness for ideas of power leads to the adoption of the

lowest 46

§ 10. Therefore perilous 48

Chapter III. — Of the Sublime

§ 1. Sublimity is the effect upon the mind of anything above it. . 49

§ 2. Burke’s theory of the nature of the sublime incorrect, and

why 49

§ 3. Danger is sublime, but not the fear of it 50

§ 4. The highest beauty is sublime 50

§ 5. And generally whatever elevates the mind 50

§ 6. The former division of the subject is therefore sufficient 51

Part II. Of Truth

SECTION I.

GENERAL PRINCIPLES RESPECTING IDEAS OF TRUTH.

Chapter I. — Of Ideas of Truth in their Connection with those of Beauty and Relation

§ 1 . The two great ends of landscape painting are the representation of facts and thoughts

XVI

CONTENTS.

§ 2. They induce a different choice of material subjects 5:3

§ 3. The fitst mode of selection apt to produce sameness and

repetition 53

$ 4. The second necessitating variety 54

§ 5. Yet the first is delightful to all 54

^ 6. The second only to a few 55

§ 7. The first necessary to the second 55

§ 8. The exceeding importance of truth 56

§ 9. Coldness or want of beauty no sign of truth 57

§ 10. How truth may be considered a just criterion of all art. . . . 57

Chapter II. — That the Truth of Nature is not to be discerned by the uneducated Senses

§ 1. The common self-deception of men with respect to their power

of discerning truth 59

§ 2. Men usually see little of what is before their eyes GO

3. But more or less in proportion to their natural sensibility to

what is beautiful 61

§ 4. Connected with a perfect state of moral feeling 62

§ 5. And of the intellectual powers 63

§ 6. How sight depends upon previous knowledge 63

§ 7. The difficulty increased by the variety of truths in nature . . 65

§ 8. -We recognise objects by their least important attributes 66

Chapter III. — Of the relative Importance of Truths: — first, that particular Truths are more important than general ones.

<5 1. Necessity of determining the relative importance of truths. . 69

§ 2. Misapplication of the aphorism : “ General truths are more

important than particular ones ” 69

§ 3. Falseness of this maxim, taken without explanation 70

§ 4. Generality important in this subject, particularly in the predicate 76

§ 5. The importance of truths of species is not owing to their

generality 71

§ 6. All truths valuable as they are characteristic 72

§ 7. Otherwise truths of species are valuable, because beautiful . . 73

§ 8. And many truths, valuable if separate, may be objectionable

in connection with others 73

Chapter IV. — Of the relative Importance of Truths : — Secondly, that rare Truths are more important than frequent ones.

^1. No accidental violation of nature’s principles should be represented 76 mmm

CONTENTS. Xvii

$ 2, But the cases in which those principles have been strikingly

exemplified 77

§ 3. Which are comparatively rare 77

§ 4. All repetition is blameable 77

$ 5. The duty of the painter is the same as that of a preacher. . . . 78

Chapter V. — Of the relative Importance of Truths : — Thirdly, that Truths of Colour are the least important of all Truths.

§ 1. Difference between primary and secondary qualities in bodies 79 § 2. The first are fully characteristic, the second imperfectly so . . 80

$ 3. Colour is a secondary quality, therefore less important than form 80

$ 4. Colour no distinction between objects of the same species. . . . 81

§ 6. And different in association from what it is alone 81

§ 6. It is not certain whether any two people see the same colour

in things 81

§ 7. Form, considered as an element of landscape, includes light

and shade 82

§ 8. Importance of light and shade in expressing the character of

bodies, and unimportance of colour 82

Chapter VI. — Recapitulation.

§ 1. The importance of historical truths 84

§ 2. Form, as explained by light and shade, the first of all truths.

Tone, light, and colour, are secondary 85

§ 3. And deceptive chiaroscuro the lowest of all 85

Chapter VII. — General Application of the foregoing Principles.

$ 1. The different selection of facts consequent on the aim at imitation or at truth 86

§ 2. The old masters, as a body, aim only at imitation 86

§ 3. What truths they gave 87

§ 4. The principles of selection adopted by modern artists 89

$ 5. General feeling of Claude, Salvator, and G. Poussin, contrasted

with the freedom and vastness of nature 89

§ 6. And with the feeling of modern artists 90

§ 7. The character of Venice, as given by Canaletti 92

§ 8. By Prout 94

$ 9. By Stanfield 95

§10. By Turner 95

§ 11. The system to be observed in comparing works with reference

to truth 96

§12. Difficulty of demonstration in such subjects 97

§ 13. General plan of investigation 98 a

XVlll

CONTENTS.

SECTION II.

OF GENERAL TRUTHS.

Chapteb I. — Of Truth of Tone.

$1. Meanings of the word “ tone First, the right relation of

objects in shadow to the principal light 99

§ 2. Secondly, the quality of colour by which it is felt to owe part

of its brightness to the hue of light upon it 99

f 3. Difference between tone in its first sense and aerial perspective 100

§ 4. The pictures of the old masters perfect in relation of middle

tints to light 100

^ 6. And consequently totally false in relation of middle tints to

darkness 101

$ 6. General falsehood of such a system 102

§ 7. The principle of Turner in this respect 103

§ 8. Comparison of N. Poussin’s Phocion.” 104

$ 9. With Turner’s “ Mercury and Argus.’’ 105

$ 10. And with the “ Datur Hora Quieti.” 105

§ 11. The second sense of the word “ tone.” 106

§ 12. Remarkable difference in this respect between the paintings

, and drawings of Turner 106

$ 13. Not owing to want of power over the material 107

§ 14. The two distinct qualities of light to be considered ........ 108

§ 15. Falsehoods by which Titian attains the appearance of quality

in light 108

§ 16. Turner will not use such means 109

§ 17. But gains in essential truth by the sacrifice 109

§ 18. The second quality of light 110

§ 19. The perfection of Cuyp in this respect interfered with by numerous solecisms Ill

§ 20. Turner is not so perfect in parts — far more so in the whole 112

§ 21. The power in Turner of uniting a number of tones 113

Chapter II. — Of Truth of Colour.

$ 1. Incompetence of the late critics of Turner’s colour 116

§ 2. Observation on the colour of G. Poussin’s “ La Riccia.” .... 116

$ 3. As compared with the actual scene 117

§4. Turner himself is inferior in brilliancy to nature 118

§ 5. Impossible colours of Salvator, Titian 119

§ 6. Poussin, and Claude 120

§ 7. Turner’-s. translation of colours 122

§ 8. Notice of. effects in which no brilliancy of art can even approach that of reality. 123

CONTENTS.

XIX

$ 9. Reasons for the usual incredulity of the observer with respect

to their representation 124

$ 10. Colour of the “ Napoleon.” 126

$ 11. Necessary discrepancy between the attainable brilliancy of

colour and light 127

§ 12. This discrepancy less in Turner than in other colourists .... 128

$13. Its great extent in a landsoax>e attributed to Rubens 128

$ 14. Turner scarcely ever uses pure or vivid colour 129

$ 15. His great tenderness in all large spaces of colour 130

§ 16. The basis of grey, under all his vivid hues 131

$ 17. The variety and fulness even of his most simple tones 132

§ 18. Following the infinite and unapproachable variety of nature.. 133

§ 19. His dislike of purple, and fondness for the opposition of

yellow and black. The principles of nature in this respect 134

$ 20. His early works are false in colour 135

$ 21. His drawings invariably perfect 136

<§ 22. The perfection aiid importance of his greys. Recapitulation 136 $ 23. The subjection of his system of colour to that of chiaroscuro 137

Chapter III. — Of Truth of Chiaroscuro

§ 1. We are not at present to examine particular effects of light . . 140 3. And therefore the distinctness of shadows is the chief means

of expressing vividness of light 141

§ 4. Total absence of such, distinctness in the works of the Italian

school 142

§ 5. And partial absence in the Dutch 142

$ 6. The perfection of Turner’s works in this respect 143

The effect of his shadows upon the light 145

§ 7. The distinction holds good between almost all the works of

the ancient and modern schools 146

^ 8. Second great principle of chiaroscuro. Both high light and

deep shadow are used in equal quantity, and only in points 147 § 9. Neglect or contradiction of this principle by writers on art . . 148

§ 10. And consequent misguiding of the student 149

§11. The great value of a simple chiaroscuro 149

§ 12. The sharp separation of nature’s lights from her middle tint.. 150 § 13. General falsehood of the old masters in this respect. ... .... 151 § 14. Excellence of the chiaroscuro of M. Angelo, P. Veronese, and

Rubens 152

§15. Errors of the landscape painters 153

§ 16. The truth of Turner 153

Chapter IV. — Of Truth of Space: — First, as dependent on the Focus of the Eye

§ 1. Space is more clearly indicated by the drawing of objects than

by their hue 156

a 2

XX

CONTENTS.

$ 2. It is impossible to see objects at unequal distances distinctly

at one moment 157

. $ 3. Especially such as are both comparatively near 167

§ 4, In painting, therefore, either the foreground or distance must

he partially sacrificed 158

$ 6. Which not being done by the old masters, they could not express space 169

$ 6. Exception in the landscapes of Kubens 159

§ 7. But modern artists have succeeded in fully carrying out this

principle 160

§ 8. Especially Turner 162

§ 9. Justification of the want of drawing in Turner’s figures .... 163

Chapter V. — Of Truth of Space: — Secondly, as its appearance is dependent on the Power of the Eye.

$ 1. The peculiar indistinctness dependent on the retirement of

objects from the eye 165

§ 2. Causes confusion, but not annihilation of details 165

§ 3. Instances in various objects 166

§ 4. Two great resultant truths ; that nature is never distinct, and

never vacant 167

§ 5. Complete violation of both these principles by the old masters. They are either distinct or vacant 168

§ 6. Instances from Nicholas Poussin 168

§ 7. From Claude 169

§ 8. And G. Poussin 170

§ 9. The imperative necessity, in landscape painting, of fulness and

finish 171

$ 10. Breadth is not vacancy 172

$ 11. The fulness and mystery of Turner’s distances 173

§ 12. Farther illustrations in architectural drawing 174

§ 13. In near objects as well as distances 175

§ 14. Vacancy and falsehood of Canaletti 176

§ 15. Still greater fulness and finish in landscape foregrounds. . . . 176 $ 16. Space and size are destroyed alike by distinctness and by

vacancy 177

§ 17. Swift execution best secures perfection of details 177

§ 18. Finish is far more necessary in landscape than in historical

subjects 17g

$ 19. Recapitulation of the section 179

Chapter I. — Of the Open Sky

^ 1 . The peculiar adaptation of the sky to the pleasing and teaching of man jgj

CONTENTS.

XXI

^ 2. The carelessness with which its lessons are received 182

§ 3. The most essential of these lessons are the gentlest 183

§ 4. Many of our ideas of sky altogether conventional 183

§ 5, Nature and essential qualities of the open blue 184

§6. Its connection with clouds 185

§ 7. Its exceeding depth 185

$ 8. These qualities are especially given by modern masters 185

§ 9. And by Claude 186

§ 10. Total absence of them in Poussin. Physical errors in his

general treatment of open sky • • • 186

^11. Errors of Cuyp in graduation of colour 187

§ 12. The exceeding value of the skies of the early Italian and Dutch schools. Their qualities are unattainable in modern

times 189

^ 13. Phenomena of visible sunbeams. Their nature and cause . . 189 § 14. They are only illuminated mist, and cannot appear when the

sky is free from vapour, nor when it is without clouds .... 190 § 15. Erroneous tendency in the representation of such phenomena

by the old masters 191

§ 16. The ray which appears in the dazzled eye should not be

represented 192

§ 17. The practice of Turner. His keen perception of the more

delicate phenomena of rays 192

§ 18. The total absence of any evidence of such perception in the

works of the old masters 193

§ 19. Truth of the skies of modern drawings 193

§ 20. Recapitulation. The best skies of the ancients are, in quality,

inimitable, but in rendering of various truth, childish .... 194

Chapter II. — Of Truth of Clouds : — First, of the Region of the Cirrus

§ 1. Difficulty of ascertaining wherein the truth of clouds consists 195 § 2. Variation of their character at different elevations. The three regions to which they may conveniently be considered as belonging 195

$ 3. Extent of the upper region - 196

§ 4. The symmetrical arrangement of its clouds 196

$ 5. Their exceeding delicacy 197

§ 6. Their number 198

§ 7. Causes of their peculiarly delicate colouring 198

§ 8. Their variety of form 199

^ 9. Total absence of even the slightest effort at their representation, in ancient landscape 200

§ 10. The intense and constant study of them by Turner 201

$ 11. His vignette, “ Sunrise on the Sea.” 202

$ 12. His use of the cirrus in expressing mist • • • 203

§ 13. His consistency in every minor feature 204

XXll

CONTENTS.

$ 14. The colour of the upper clouds 205

Chapter III. — Of Truth of Clouds : — Secondly, of the Central Cloud Region

§ 1. Extent and typical character of the central cloud region .... 207 § 2. Its characteristic clouds, requiring no attention nor thought for their representation, are therefore favourite subjects with

the old masters 207

§ 3. The clouds of Salvator and Poussin 208

§ 4. Their essential characters 208

$ 5. Their angular forms and general decision of outline 209

§ 6. The composition of their minor curves 210

§ 7. Their characters as given by S. Rosa 211

§ 8. Monotony and falsehood of the clouds of the Italian school

generally 212

§ 9. Vast size of congregated masses of cloud 212

$10. Demonstrable by comparison with mountain ranges 213

$ 11. And consequent divisions and varieties of feature 214

$ 12. Not lightly to be omitted 214

$ 13. Imperfect conceptions of this size and extent in ancient

landscape 215

$ 14. Total want of transparency and evanescence in the clouds of

ancient landscape 216

$ 15. Farther proof of their deficiency in space 217

$ 16. Instance of perfect truth in the sky of Turner’s “ Babylon.” 218

$17. And in his “ Pools of Solomon.” 219

$18. Truths of outline and character in his “Como.”.. 220

$ 19. Compared with the clouds of Backhuysen 221

$ 20. The deep-based knowledge of the Alps in Turner’s “ Lake of

Geneva.” 221

$21. Further principles of clond form exemplified in his “Amalfi.” 222 $ 22. Reasons for insisting on the infinity of Turner’s works. Infinity is almost an unerring test of all truth 223

$ 23. Instances of the total want of it in the works of Salvator . . 223 $ 24. And of the universal presence of it in those of Turner. The

conclusions which may be arrived at from it 224

$ 25. The multiplication of objects, or increase of their size, will not give the impression of infinity, but is the resource of

novices 225

$ 26. Farther instances of infinity in the grey skies of Turner. . . 225

$ 27. The excellence of the cloud-drawing of Stanfield 226

$ 28. The average standing of the English school 227

Chapter IY . — Of Truth of Clouds : Thirdly, of the Region of the Rain Cloud.

$ 1 . The apparent difference in character between the lower and

central clouds is dependent chiefly on proximity 229

CONTENTS.

XXIU

§ 2. Their marked differences in colour 229

§ 3. And in definiteness of form 230

$ 4. They are subject to precisely the same great laws 231

j, 5. Value, to the painter, of the rain cloud 232

$ 6. The old masters have not left a single instance of the painting of the rain cloud, and very few efforts at it. Gaspar

Poussin’s storms 232

$ 7. The great power of the moderns in this respect. Works of

Stanfield 234

$ 8. And of Copley Fielding 234

§ 9. His peculiar truth 235

§ 10. His weakness, and its probable cause 235

§ 11. Impossibility of reasoning on the rain clouds of Turner from

engravings 236

§ 12. His rendering of Fielding’s particular moment in the

“Jumieges” 237

§ 13. Illustration of the nature of clouds in the opposed forms of

smoke and steam 237

§ 14. Moment of retiring rain in the “ Llanthony ” 238

§ 15. And of commencing, chosen with peculiar meaning for

“ Loch Coriskin ” 239

$ 16. Tlie drawing of transparent vapour in the “ Land’s-End”. . 240

§ 17. The individual character of its parts 241

§ 18. Deep-studied form of swift rain cloud in the “ Coventry ” . . 241

§19. Compared with forms given by Salvator 242

§ 20. Entire expression of tempest by minute touches and cii’cum-

stances in the “ Coventry ” 242

$21. Especially by contrast with a passage of extreme repose 243

§ 22. The truth of this particular passage. Perfectly pure blue

sky only seen after rain, and how seen 244

$ 23. Absence of this effect in the works of the old masters 244

§ 24. Success of our water-colour artists in its rendering. Use of it

by Turner 245

$26. Expression of near rain -cloud in the “ Gosport” and other

works 245

$ 26. Contrasted with Gaspar Poussin’s rain cloud in the “ Dido

and Eneas ” 246

$ 27. Turner’s power of rendering mist 247

$ 28. His effects of mist so perfect, that if not at once understood, they can no more be explained or reasoned on than nature

herself 247

$ 29. Various instances 248

$ 30. Turner’s more violent effects of tempest are never rendered