148
Sec. 16. Turner will not use such means. 148
Sec. 17. But gains in essential truth by the sacrifice. 148
Sec. 18. The second quality of light. 148
Sec. 19. The perfection of Cuyp in this respect interfered with by
numerous solecisms. 150
Sec. 20. Turner is not so perfect in parts--far more so in the whole. 151
Sec. 21. The power in Turner of uniting a number of tones. 152
Sec. 22. Recapitulation. 153

CHAPTER II.--Of Truth of Color.

Sec. 1. Observations on the color of G. Poussin's La Riccia. 155
Sec. 2. As compared with the actual scene. 155
Sec. 3. Turner himself is inferior in brilliancy to nature. 157
Sec. 4. Impossible colors of Salvator, Titian. 157
Sec. 5. Poussin, and Claude. 158
Sec. 6. Turner's translation of colors. 160
Sec. 7. Notice of effects in which no brilliancy of art can even
approach that of reality. 161
Sec. 8. Reasons for the usual incredulity of the observer with respect
to their representation 162
Sec. 9. Color of the Napoleon. 163
Sec. 10. Necessary discrepancy between the attainable brilliancy of
color and light. 164
Sec. 11. This discrepancy less in Turner than in other colorists. 165
Sec. 12. Its great extent in a landscape attributed to Rubens. 165
Sec. 13. Turner scarcely ever uses pure or vivid color. 166
Sec. 14. The basis of gray, under all his vivid hues. 167
Sec. 15. The variety and fulness even of his most simple tones. 168
Sec. 16. Following the infinite and unapproachable variety of nature. 168
Sec. 17. His dislike of purple, and fondness for the opposition of
yellow and black. The principles of nature in this respect. 169
Sec. 18. His early works are false in color. 170
Sec. 19. His drawings invariably perfect. 171
Sec. 20. The subjecti