| edition | page | line | text | edition | page | line | text |
| 1 | xxix | I§1 | Extreme difficulty of representing foliage, and case with which the truth of its representation may be determined | 3 | lxii | I§1 | Frequent occurrence of foliage in the works of the old masters |
| 1 | xxx | I | [§11 in 3 omitted in 1 ] | 3 | lxii | I§11 | Bough-drawing of Salvator |
| 1 | xxx | I§13 | Unity of all truth in the works of Turner. "Crossing the Brook." | 3 | lxii | I§14 | Bough-drawing of Titian |
| 1 | xxx | I§14 | "Chiefswood Cottage," "Chateau de la Belle Gabrielle," etc | 3 | lxii | I§15 | Bough-drawing of Turner |
| 1 | xxx | I§15 | Character of leafage. Its singular irregularity. | 3 | lxii | I§16 | Leafage. Its variety and symmetry. |
| 1 | xxx | I§24 | curves. Their ideal form | 3 | lxii | I§25 | curves. |
| 1 | xxx | I§26 | Connection in foliage between truth and beauty | 3 | lxii | I§27 | Foliage painting on the Continent |
| 1 | xxx | I§27 | Foliage of Harding, Fielding, and other modern painters | 3 | lxii | I§28 | Foliage of J.D. Harding. Its deficiencies. |
| 1 | xxx | I | [§29 in 3 omitted in 1 ] | 3 | lxii | I§29 | His brilliancy of execution too manifest |
| 1 | xxx | I | [§30 in 3 omitted in 1 ] | 3 | lxii | I§30 | His bough-drawing, and choice of form |
| 1 | xxx | I | [§31 in 3 omitted in 1 ] | 3 | lxii | I§31 | Local colour, how far expressible in black and white, and with what advantage |
| 1 | xxx | I | [§32 in 3 omitted in 1 ] | 3 | lxii | I§32 | Opposition between great manner and great knowledge |
| 1 | xxx | I | [§33 in 3 omitted in 1 ] | 3 | lxii | I§33 | Foliage of Cox, Fielding, and Cattermole |
| 1 | xxx | I | [§34 in 3 omitted in 1 ] | 3 | lxii | I§34 | Hunt and Creswick. Green, how to be rendered expressive of light, and offensive if otherwise |
| 1 | xxx | I | [§35 in 3 omitted in 1 ] | 3 | lxii | I§35 | Conclusion. Works of J. Linnel and S. Palmer |