ond imperfectly so. 67
Sec. 3. Color is a secondary quality, therefore less important than
form. 68
Sec. 4. Color no distinction between objects of the same species. 68
Sec. 5. And different in association from what it is alone. 69
Sec. 6. It is not certain whether any two people see the same colors
in things. 69
Sec. 7. Form, considered as an element of landscape, includes light
and shade. 69
Sec. 8. Importance of light and shade in expressing the character of
bodies, and unimportance of color. 70
Sec. 9. Recapitulation. 71

CHAPTER VI.--Recapitulation.

Sec. 1. The importance of historical truths. 72
Sec. 2. Form, as explained by light and shade, the first of all truths.
Tone, light, and color, are secondary. 72
Sec. 3. And deceptive chiaroscuro the lowest of all. 73

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. 8