§ 1. Meanings of the word "tone:"--First, the right relation of objects in shadow to the principal light. 140 § 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 § 3. Difference between tone in its first sense and aerial perspective. 141 § 4. The pictures of the old masters perfect in relation of middle tints to light. 141 § 5. And consequently totally false in relation of middle tints to darkness. 141 § 6. General falsehood of such a system. 143 § 7. The principle of Turner in this respect. 143 § 8. Comparison of N. Poussin's "Phocion." 144 § 9. With Turner's "Mercury and Argus." 145 § 10. And with the "Datur Hora Quieti." 145 § 11. The second sense of the word "tone." 146 § 12. Remarkable difference in this respect between the paintings and drawings of Turner. 146 § 13. Not owing to want of power over the material 146 § 14. The two distinct qualities of light to be considered 147 § 15. Falsehoods by which Titian attains the appearance of quality in light. 148 § 16. Turner will not use such means. 148 § 17. But gains in essential truth by the sacrifice. 148 § 18. The second quality of light. 148 § 19. The perfection of Cuyp in this respect interfered with by numerous solecisms. 150 § 20. Turner is not so perfect in parts--far more so in the whole. 151 § 21. The power in Turner of uniting a number of tones. 152 § 22. Recapitulation. 153
§ 1. Observations on the color of G. Poussin's La Riccia. 155 § 2. As compared with the actual scene. 155 § 3. Turner himself is inferior in brilliancy to nature. 157 § 4. Impossible colors of Salvator, Titian. 157 § 5. Poussin, and Claude. 158 § 6. Turner's translation of colors. 160 § 7. Notice of effects in which no brilliancy of art can even approach that of reality. 161 § 8. Reasons for the usual incredulity of the observer with respect to their representation 162 § 9. Color of the Napoleon. 163 § 10. Necessary discrepancy between the attainable brilliancy of color and light. 164 § 11. This discrepancy less in Turner than in other colorists. 165 § 12. Its great extent in a landscape attributed to Rubens. 165 § 13. Turner scarcely ever uses pure or vivid color. 166 § 14. The basis of gray, under all his vivid hues. 167 § 15. The variety and fulness even of his most simple tones. 168 § 16. Following the infinite and unapproachable variety of nature. 168 § 17. His dislike of purple, and fondness for the opposition of yellow and black. The principles of nature in this respect. 169 § 18. His early works are false in color. 170 § 19. His drawings invariably perfect. 171 § 20. The subjection of his system of color to that of chiaroscuro. 171