345
Sec. 23. Venetians and Florentines. Conclusion. 346

CHAPTER II.--Of Water, as Painted by the Moderns.

Sec. 1. General power of the moderns in painting quiet water. The
lakes of Fielding. 348
Sec. 2. The calm rivers of De Wint, J. Holland, &c. 348
Sec. 3. The character of bright and violent falling water. 349
Sec. 4. As given by Nesfield. 349
Sec. 5. The admirable water-drawing of J. D. Harding. 350
Sec. 6. His color; and painting of sea. 350
Sec. 7. The sea of Copley Fielding. Its exceeding grace and rapidity. 351
Sec. 8. Its high aim at character. 351
Sec. 9. But deficiency in the requisite quality of grays. 352
Sec. 10. Variety of the grays of nature. 352
Sec. 11. Works of Stanfield. His perfect knowledge and power. 353
Sec. 12. But want of feeling. General sum of truth presented by modern
art. 353

CHAPTER III.--Of Water, as Painted by Turner.

Sec. 1. The difficulty of giving surface to smooth water. 355
Sec. 2. Is dependent on the structure of the eye, and the focus by
which the reflected rays are perceived. 355
Sec. 3. Morbid clearness occasioned in painting of water by
distinctness of reflections. 356
Sec. 4. How avoided by Turner. 357
Sec. 5. All reflections on distant water are distinct. 357
Sec. 6. The error of Vandevelde. 358
Sec. 7. Difference in arrangement of parts between the reflected
object and its image. 359
Sec. 8. Illustrated from the works of Turner. 359
Sec. 9. The boldness and judgment shown in the observance of it. 360
Sec. 10. The _texture_ of surface in Turner's painting of calm water. 361
Sec. 11. Its united qualities. 361
Sec. 12. Relation of various circumstances of past agitation, &c., by
the most trifling incidents, as in the Cowes.