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