ng 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.

CHAPTER I.--Of Truth of Tone.

Sec. 1. Meanings of the word "tone:"--First, the right relation of
objects in shadow to the principal light. 140
Sec. 2. Secondly, the quality of color by which it is felt to owe part
of its brightness to the hue of light upon it. 140
Sec. 3. Difference between tone in its first sense and aerial
perspective. 141
Sec. 4. The pictures of the old masters perfect in relation of middle
tints to light. 141
Sec. 5. And consequently totally false in relation of middle tints to
darkness. 141
Sec. 6. General falsehood of such a system. 143
Sec. 7. The principle of Turner in this respect. 143
Sec. 8. Comparison of N. Poussin's "Phocion." 144
Sec. 9. With Turner's "Mercury and Argus." 145
Sec. 10. And with the "Datur Hora Quieti." 145
Sec. 11. The second sense of the word "tone." 146
Sec. 12. Remarkable difference in this respect between the paintings
and drawings of Turner. 146
Sec. 13. Not owing to want of power over the material 146
Sec. 14. The two distinct qualities of light to be considered 147
Sec. 15. Falsehoods by which Titian attains the appearance of quality
in light.