Chapter VII., General Application of the Foregoing Principle |
  | §1. | The different selection of facts consequent on the several aims at imitation or at truth. | 74 | | §2. | The old masters, as a body, aim only at imitation. | 74 | | §3. | What truths they gave. | 75 | | §4. | The principles of selection adopted by modern artists. | 76 | | §5. | General feeling of Claude, Salvator, and G. Poussin, contrasted with the freedom and vastness of nature. | 77 | | §6. | Inadequacy of the landscape of Titian and Tintoret.[Page lviii] | 78 | | §7. | Causes of its want of influence on subsequent schools. | 79 | | §8. | The value of inferior works of art, how to be estimated. | 80 | | §9. | Religious landscape of Italy. The admirableness of its completion. | 81 | | §10. | Finish, and the want of it, how right—and how wrong. | 82 | | §11. | The open skies of the religious schools, how valuable. Mountain drawing of Masaccio. Landscape of the Bellinis and Giorgione. | 84 | | §12. | Landscape of Titian and Tintoret. | 86 | | §13. | Schools of Florence, Milan, and Bologna. | 88 | | §14. | Claude, Salvator, and the Poussins. | 89 | | §15. | German and Flemish landscape. | 90 | | §16. | The lower Dutch schools. | 92 | | §17. | English school, Wilson and Gainsborough. | 93 | | §18. | Constable, Callcott. | 94 | | §19. | Peculiar tendency of recent landscape. | 95 | | §20. | G. Robson, D. Cox. False use of the term "style." | 95 | | §21. | Copley Fielding. Phenomena of distant color. | 97 | | §22. | Beauty of mountain foreground. | 99 | | §23. | De Wint. | 101 | | §24. | Influence of Engraving. J. D. Harding. | 101 | | §25. | Samuel Prout. Early painting of architecture, how deficient. | 103 | | §26. | Effects of age upon buildings, how far desirable. | 104 | |   |
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