Modern Painters, Volume 1 (of 5)

Sec. 1. Meanings of the word "tone:"—First, the right relation of objects in shadow to the principal light. 140 Sec. 2. Secondly, the quality of color by which it is felt to owe part of its brightness to the hue of light upon it. 140 Sec. 3. Difference between tone in its first sense and aerial perspective. 141 Sec. 4. The pictures of the old masters perfect in relation of middle tints to light. 141 Sec. 5. And consequently totally false in relation of middle tints to darkness. 141 Sec. 6. General falsehood of such a system. 143 Sec. 7. The principle of Turner in this respect. 143 Sec. 8. Comparison of N. Poussin's "Phocion." 144 Sec. 9. With Turner's "Mercury and Argus." 145 Sec. 10. And with the "Datur Hora Quieti." 145 Sec. 11. The second sense of the word "tone." 146 Sec. 12. Remarkable difference in this respect between the paintings and drawings of Turner. 146 Sec. 13. Not owing to want of power over the material 146 Sec. 14. The two distinct qualities of light to be considered 147 Sec. 15. Falsehoods by which Titian attains the appearance of quality in light. 148 Sec. 16. Turner will not use such means. 148 Sec. 17. But gains in essential truth by the sacrifice. 148 Sec. 18. The second quality of light. 148 Sec. 19. The perfection of Cuyp in this respect interfered with by numerous solecisms. 150 Sec. 20. Turner is not so perfect in parts—far more so in the whole. 151 Sec. 21. The power in Turner of uniting a number of tones. 152 Sec. 22. Recapitulation. 153