on of his system of color to that of chiaroscuro. 171

CHAPTER III.--Of Truth of Chiaroscuro.

Sec. 1. We are not at present to examine particular effects of light. 174
Sec. 2. And therefore the distinctness of shadows is the chief means
of expressing vividness of light. 175
Sec. 3. Total absence of such distinctness in the works of the Italian
school. 175
Sec. 4. And partial absence in the Dutch. 176
Sec. 5. The perfection of Turner's works in this respect. 177
Sec. 6. The effect of his shadows upon the light. 178
Sec. 7. The distinction holds good between almost all the works of the
ancient and modern schools. 179
Sec. 8. Second great principle of chiaroscuro. Both high light and
deep shadow are used in equal quantity, and only in points. 180
Sec. 9. Neglect or contradiction of this principle by writers on art. 180
Sec. 10. And consequent misguiding of the student. 181
Sec. 11. The great value of a simple chiaroscuro. 182
Sec. 12. The sharp separation of nature's lights from her middle tint. 182
Sec. 13. The truth of Turner. 183

CHAPTER IV.--Of Truth of Space:--First, as Dependent on the Focus of
the Eye.

Sec. 1. Space is more clearly indicated by the drawing of objects than
by their hue. 185
Sec. 2. It is impossible to see objects at unequal distances
distinctly at one moment. 186
Sec. 3. Especially such as are both comparatively near. 186
Sec. 4. In painting, therefore, either the foreground or distance must
be partially sacrificed. 187
Sec. 5. Which not being done by the old masters, they could not
express space. 187
Sec. 6. But modern artists have succeeded in fully carrying out this
principle. 188
Sec. 7. Especially of Turner. 189
Sec. 8. Justification of the want of drawing in Turner's figures. 189

CHAPTER V.--O