tal want of it in Both and Hobbima. 398
Sec. 23. How rendered by Turner. 399
Sec. 24. The near leafage of Claude. His middle distances are good. 399
Sec. 25. Universal termination of trees in symmetrical curves. 400
Sec. 26. Altogether unobserved by the old masters. Always given by
Turner. 401
Sec. 27. Foliage painting on the Continent. 401
Sec. 28. Foliage of J. D. Harding. Its deficiencies. 402
Sec. 29. His brilliancy of execution too manifest. 403
Sec. 30. His bough-drawing, and choice of form. 404
Sec. 31. Local color, how far expressible in black and white, and with
what advantage. 404
Sec. 32. Opposition between great manner and great knowledge. 406
Sec. 33. Foliage of Cox, Fielding, and Cattermole. 406
Sec. 34. Hunt and Creswick. Green, how to be rendered expressive of
light, and offensive if otherwise. 407
Sec. 35. Conclusion. Works of J. Linnel and S. Palmer. 407

CHAPTER II.--General remarks respecting the Truth of Turner.

Sec. 1. No necessity of entering into discussion of architectural
truth. 409
Sec. 2. Extreme difficulty of illustrating or explaining the highest
truth. 410
Sec. 3. The _positive_ rank of Turner is in no degree shown in the
foregoing pages, but only his relative rank. 410
Sec. 4. The exceeding refinement of his truth. 411
Sec. 5. There is nothing in his works which can be enjoyed without
knowledge. 411
Sec. 6. And nothing which knowledge will not enable us to enjoy. 412
Sec. 7. His former rank and progress. 412
Sec. 8. Standing of his present works. Their mystery is the
consequence of their fulness. 413

CHAPTER III.--Conclusion.--Modern Art and Modern Criticism.

Sec. 1. The entire prominence hitherto given to the works of one
artist caused only by