List of All Collations

edition	page	line	text	edition	page	line	text
Autograph	i	-	BY JOHN RUSKIN, LL.D. AUTHOR OF "THE STONES OF VENICE," ETC. ETC. A NEW EDITION. /LONDON:/SMITH, ELDER AND CO., 15 WATERLOO PLACE./1873. [THE AUTHOR RESERVES THE RIGHT OF TRANSLATION.]	Complete	iii	-	BY/ JOHN RUSKIN,LL.D., HONORARY STUDENT OF CHRIST CHURCH,/AND HONORARY FELLOW OF CORPUS CHRISTI COLLEGE, OXFORD. COMPLETE EDITION./GEORGE ALLEN,/SUNNYSIDE, ORPINGTON, KENT./1888. [ The Author reserves the right of Translation. ]
4	iii	-	[omitted in 4 ] BY A GRADUATE OF OXFORD. [line 3 of motto] nature FOURTH EDITION. … ELDER 1848	5	iii	-	[added after PARTS I AND II] Of General Principles, and of Truth. BY JOHN RUSKIN,/AUTHOR OF "THE STONES OF VENICE," "THE SEVEN LAMPS OF ARCHITECTURE,"/ ETC. ETC. [line 3 of motto] Nature FIFTH EDITION, REVISED BY THE AUTHOR … ELDER, 1851
5	iii	-	Of arrogance, . . . . FIFTH EDITION, REVISED BY THE AUTHOR 1851	6	iii	-	Of arrogance, [no ellipsis] SIXTH EDITION 1857
6	iii	-	BY JOHN RUSKIN, SIXTH EDITION 1857 [translation right sentence omitted in 6 ]	7	iii	-	BY JOHN RUSKIN, M.A. SEVENTH EDITION 1867 The Author reserves the right of translation
Complete	iii	-	By/John Ruskin, LL.D.,/ Honorary Student of Christ Church,/And Honorary Fellow of Corpus Christi College, Oxford Motto in roman COMPLETE EDITION GEORGE ALLEN,: SUNNYSIDE, ORPINGTON, KENT,/1888. [ The Author reserves the right of Translation ]	Library	vii	-	By/John Ruskin Motto in italics [omitted] LONDON/GEORGE ALLEN, 156, CHARING CROSS ROAD/NEW YORK: LONGMAN, GREEN, AND CO./ 1903 [omitted]
4	v	-	… ENGLAND, … DEDICATED,	5	v	-	… ENGLAND … DEDICATED
Autograph	v	-	PREFACE TO NEW EDITION	Complete	v	-	[omitted]
Autograph	v	3	The work	Complete	vii	3	The work
1	iii	-	MODERN PAINTERS:/ THEIR SUPERIORITY/ IN THE ART OF LANDSCAPE PAINTING/ TO ALL/ THE ANCIENT MASTERS/ PROVED BY EXAMPLES OF/ [Gothic script] The True, the Beautiful, and the Intellectual,/ FROM THE/ WORKS OF MODERN ARTISTS,/ ESPECIALLY/ FROM THOSE OF J. M. W. TURNER, ESQ., R.A. 1843.	3	iii	-	MODERN PAINTERS./VOLUME I./ CONTAINING/ PARTS I AND II. THIRD EDITION./ REVISED BY THE AUTHOR. 1846.
1	vii	-	PREFACE	3	vii	-	PREFACE/TO THE FIRST EDITION
1	vii	1	PREFACE [preface to 1 ^st ed, to page xii]	2	vii	1	PREFACE TO THE FIRST EDITION. [Preface to 1 ^st ed, to page xii]
3	vii	5	But,	4	vii	6	But
4	vii	6	But	5	vii	6	But,
4	vii	8	Editor	5	vii	8	editor
3	viii	5	ribald buffooneries … landscape, that this,	4	viii	5	ribaldry … landscape … that this
Autograph	viii	11	in vidious	Complete	viii	11	invidious
Autograph	viii	12	tenour	Complete	viii	12	tenor
Complete	viii	12	tenor	Library	4	18	tenour
3	ix	3	public,	4	ix	3	public;
4	ix	3	public;	5	ix	3	public,
4	ix	9	Nature	5	ix	9	nature
4	ix	15	know,	5	ix	15	know
4	ix	17	landscape-painting	5	ix	17	landscape painting
4	ix	24	illustration,	5	ix	24	illustration
4	ix	-7	executed,	5	ix	-7	executed
1	xi	8	possessor; and	3	ix	24	possessor, and
1	ix	16	desire and aim has	3	ix	25	desire and aim have
1	xii	-	[no preface to second edn]	3	xi	-	PREFACE/TO THE SECOND EDITION [to page xliv]
4	xi	3	superiority	5	xi	3	superiority,
Complete	xi	-	Preface/To The Second Edition.	Library	7	-	Preface To The Second Edition/[1844]
Complete	xi	16	Royal Sovereign	Library	7	-9	Royal Sovereign
3	xi	-5	fleet,	4	xi	-5	fleet;
4	xi	-2	vessel, -	5	xi	-3	vessel,
4	xi	-1	feel, -	5	xi	-3	feel;
4	xii	13	Art with Nature	5	xii	12	art with nature
5	xii	-1	analyze	6	xli	-11	analyse
3	xiii	9	themselves,	4	xiii	8	themselves;
4	xiii	19	living, -	5	xiii	20	living;
4	xiii	21	demonstrated	5	xiii	21	demonstrated,
3	xiv	8	innocuous,	4	xiv	7	innocuous;
4	xiv	-15	praise;	5	xiv	-14	praise:
5	xiv	24	praise: the wise,	6	xiv	24	praise; the wise,
4	xv	1	phrenzy	5	xv	2	phrensy
Autograph	xv	8	necessarily be	Complete	xv	8	necessarily be,
4	xv	21	nature,	5	xv	23	nature
4	xv	-10	path -	5	xv	-8	path;
4	xvi	6	very few	5	xvi	8	very few,
4	xvi	11	better than	5	xvi	13	better than,
4	xvi	15	great, or	5	xvi	17	great, or,
4	xvi	18	principle, -	5	xvi	20	principle,
4	xvi	-10	argues, - namely,	5	xvi	-11	argues, namely,
4	xvi	-8	kind!	5	xvi	-9	kind.
4	xvi	-7	excelled, ¹ – there [fn of four lines]	5	xvi	-7	excelled; there [fn omitted in 5 ]
3	xvi	fn3	category,	4	xvi	fn3	category;
3	xvi	fn4	rectify	4	xvi	fn4	supply
4	xvii	5	is that	5	xvii	3	is, that,
4	xvii	15	a new, and, perhaps,	5	xvii	13	a new, and perhaps
4	xvii	-17	is that	5	xvii	-21	is, that
4	xvii	-16	factions;	5	xvii	-20	factions:
4	xvii	-11	right, -	5	xvii	-15	right,
5	xvii	23	works;	6	xvii	23	works,
3	xvii	-4	works,	4	xvii	-4	works;
4	xvii	fn-8	evil,	5	xvii	fn-8	evil;
4	xvii	fn-5	sake -	5	xvii	fn-5	sake,
4	xvii	fn-4	aberration -	5	xvii	fn-4	aberration;
4	xvii	fn-3	technical,	5	xvii	fn-3	technical
4	xvii	fn-2	as says	5	xvii	fn-2	says
3	xvii	fn-3	multitudinous. "Vice," says Byron, in Marino Faliero, "must have variety; but Virtue stands like the sun, and all which rolls around drinks life from her aspect".	4	xvii	fn-1	multitudinous. [sentence omitted]
3	xviii	2	recognize … innovator … unseized,	4	xviii	2	recognize, … innovator, … unseized;
4	xviii	2	recognize,	5	xvii	-12	recognize
4	xviii	3	innovator,	5	xvii	-11	innovator
4	xviii	7	enthusiasm: for	5	xviii	4	enthusiasm. For
4	xviii	8	step -	5	xviii	5	step,
4	xviii	9	success -	5	xviii	5	success,
3	xviii	10	narrower,	4	xviii	10	narrower;
4	xviii	-15	truth	5	xviii	-18	truth,
4	xviii	-9	mind,	5	xviii	-12	mind
4	xviii	-4	them,	5	xviii	-7	them
4	xix	8	respect -	5	xix	5	respect;
5	xix	1	opinions	6	xix	1	opinion
Complete	xix	6	feeblemindedness	Library	17	2	feeble-mindedness
3	xix	12	charlatanery	4	xix	12	charlatanry
4	xix	12	that even	5	xix	12	that, even
5	xix	12	not insulted	6	xix	12	not so insulted
4	xix	19	dictionary	5	xix	17	dictionary,
4	xix	23	Gainsborough; ⁴	5	xix	20	Gainsborough ⁴ ;
4	xix	fn1	criticisms,	5	xix	fn1	criticisms
4	xix	fn8	them -	5	xix	fn8	them,
4	xix	fn10	arts -	5	xix	fn9	arts,
4	xix	fn11	Chrysophrase	5	xix	fn11	Chrysophrase.
4	xix	fn-5	(Sept. 1841,)	5	xix	fn-11	(Sept 1841)
4	xix	fn-4	"Composition."	5	xix	fn-10	"composition"
5	xix	20	Gainsborough ⁴ ;	6	xix	20	Gainsborough; ⁴
6	xix	-16	them, more	7	xix	-17	them: more
6	xix	-4	well intentioned	7	xix	-4	well-intentioned
Complete	xix	fn-11	however,(Sept.1841)	Library	18	fn3	however(Sept.1841),
1	xix	III§17	§17 …	3	xix	III§17	[§17 in 1 omitted in 3 ]
3	xix	fn-4	1842. "He	4	xix	fn-3	1842. –"He
4	xix	fn-1	Gainsborough! -	5	xix	fn-7	Gainsborough!
4	xx	2	blossom, -	5	xx	2	blossom,
4	xx	4	1842),	5	xx	5	1842)
4	xx	fn1	ever, -	5	xix	fn-6	ever,
4	xx	fn4	well-intentioned	5	xix	fn-4	well intentioned
4	xx	fn6	deserves -	5	xix	fn-1	deserves,
4	xx	fn7	and therefore,	5	xx	fn1	and, therefore,
4	xx	fn12	colourist -	5	xx	fn5	colourist,
4	xx	fn16	degree -	5	xx	fn10	degree,
4	xx	fn-21	cloud -	5	xx	fn14	cloud,
4	xx	fn-6	times,	5	xx	fn-6	times
4	xxi	2	Xanthias like,	5	xx	9	Xanthias-like,
4	xxi	4	Harrow -	5	xx	11	Harrow,
6	xxi	4	schoolboy,	7	xxi	4	schoolboy
3	xxi	4	consequences? How low must art and its interests sink, when the public mind is inadequate to the detection of this effrontery of incapacity! In all	4	xxi	5	consequences? In all [sentence omitted]
3	xxi	9	reasoning,	4	xxi	8	reasoning;
4	xxi	16	view -	5	xxi	11	view,
4	xxi	-16	Sister	5	xxi	17	sister
3	xxi	-5	heart,	4	xxi	-6	heart;
Autograph	xxii	7	his	Complete	xxii	7	His
Complete	xxii	6	should	Library	22	11	would
Complete	xxii	9	passers by	Library	22	16	passers-by
3	xxii	11	of man,	4	xxii	11	of man;
4	xxii	19	lips, -	5	xxii	14	lips;
4	xxii	-13	himself, -	5	xxii	-21	himself;
4	xxii	-5	skill, - his passion, not his power, -	5	xxii	-17	skill, his passion, not his power,
4	xxii	-1	Cassandra, ¹	5	xxii	-1	Cassandra ¹ ;
4	xxii	fn1	Frogs in	5	xxii	fn1	Frogs of
4	xxii	fn2	[Aristophanes quote set out as prose]	5	xxii	fn3	[Aristophanes quote set out as verse]
5	xxii	-1	Cassandra ¹ ;	6	xxii	-2	Cassandra; ¹
5	xxii	fn2	Agamemnon:	6	xxii	fn2	Agamemnon. ¾
6	xxii	-11	Agamemnon -	7	xxii	-11	Agamemnon:-
6	xxii	-5	common,	7	xxii	-5	common -
Complete	xxii	fn1	Frogs … Agamemnon	Library	23	fn1	Frogs … Agamemnon
4	xxiii	8	painting,	5	xxiii	7	painting?
4	xxiii	13	inventions, -	5	xxiii	12	inventions,
4	xxiii	14	man, -	5	xxiii	13	man,
4	xxiii	20	School -	5	xxiii	19	school,
4	xxiii	21	spiculae	5	xxiii	20	spicula
4	xxiii	22	donkeys -	5	xxiii	21	donkeys;
4	xxiii	23	speak, -	5	xxiii	22	speak,
4	xxiii	-14	power, -	5	xxiii	-15	power,
4	xxiii	-6	enthusiasm, -	5	xxiii	-7	enthusiasm.
4	xxiii	fn1	common -	5	xxii	fn-5	common,
4	xxiii	fn-2	[Greek word "hetero"]	5	xxii	fn-2	[Greek word "heteroi"]
3	xxiv	21	is advanced	4	xxiv	21	are advanced
4	xxiv	-15	conception; - nay,	5	xxiv	-20	conception; nay,
4	xxiv	-14	object,	5	xxiv	-19	object
4	xxiv	-13	pages,)	5	xxiv	-18	pages),
4	xxiv	-9	simple,	5	xxiv	-13	simple
4	xxiv	-6	character,	5	xxiv	-11	character
4	xxiv	-4	audacity,	5	xxiv	-8	audacity;
5	xxiv	-15	Now,	6	xxiv	-15	Now there
4	xxv	4	14th	5	xxiv	-1	fourteenth
4	xxv	14	form	5	xxv	10	form,
4	xxv	-19	essence than,	5	xxv	18	essence, than,
4	xxv	-15	perfection; there	5	xxv	-21	perfection. There
4	xxv	fn3	Aristophanes, -	5	xxv	fn3	Aristophanes;
5	xxv	-9	and tree;	6	xxv	-9	and tree,
Complete	xxv	fn3	clouds by the by	Library	26	fn3	clouds by-the-by
3	xxv	fn5	us except	4	xxv	fn5	us, except
4	xxv	fn5	conception -	5	xxv	fn5	conception,
4	xxv	fn-5	[Greek words: toon daseoon]	5	xxv	fn-5	[Greek words: toon daseoon autai]
4	xxv	fn-4	scenery -	5	xxv	fn-4	scenery,
4	xxv	fn-2	solidities -	5	xxv	fn-2	solidities,
4	xxvi	2	works,	5	xxv	-17	works
4	xxvi	16	therein,	5	xxvi	10	therein
4	xxvi	21	truths, -	5	xxvi	15	truths:
4	xxvi	24	lecture	5	xxvi	18	Lecture
4	xxvi	-7	which,	5	xxvi	-14	which
4	xxvi	-6	details,	5	xxvi	-13	details
Autograph	xxvi	-6	loveliness:	Complete	xxvi	-6	loveliness
4	xxvi	-5	them,	5	xxvi	-12	them
4	xxvi	-4	landscape; -	5	xxvi	-11	landscape;
4	xxvii	1	observations	5	xxvi	-7	observation
3	xxvii	9	origin,	4	xxvii	9	origin
4	xxvii	9	origin	5	xxvii	2	origin,
4	xxvii	15	rose; [fn omitted in 4 ] ]	5	xxvii	17	rose ¹ ; [fn of 16 lines in 5 ] ]
4	xxvii	17	Vaseni	5	xxvii	11	Vasari
3	xxvii	22	"Bacchus and Ariadne" [ passim ]	4	xxvii	22	Bacchus and Ariadne [ passim ]
4	xxvii	22	Bacchus and Ariadne,	5	xxvii	16	"Bacchus and Ariadne,"
4	xxvii	-11	- the Miraculous Draught of Fishes, and the Charge to Peter, -	5	xxvii	-22	"The Miraculous Draught of Fishes" and "The Charge to Peter,"
4	xxvii	-10	crambe	5	xxvii	-21	Crambe
4	xxvii	-3	painting,	5	xxviii	3	paintings;
4	xxvii	-2	figures;	5	xxviii	4	figures,
5	xxvii	-1	rose ¹ ;	6	xxvii	-10	rose; ¹
5	xxvii	fn7	1846,)	6	xxvii	fn8	1846),
6	xxvii	-22	Fishes"	7	xxvii	-22	Fishes,"
6	xxvii	-13	question.	7	xxvii	-13	question:-
Autograph	xxvii	-7	&c.;	Complete	xxvii	-7	etc.;
4	xxviii	1	Holy Family,	5	xxviii	6	"Holy Family,"
4	xxviii	2	Nursing of Jupiter,	5	xxviii	7	"Nursing of Jupiter,"
4	xxviii	5	flower garden; -	5	xxviii	10	flower-garden;
Autograph	xxviii	5	necessary and	Complete	xxviii	5	necessary, and
4	xxviii	9	If, then,	5	xxviii	15	If then,
4	xxviii	14	them.	5	xxviii	20	them!
4	xxviii	17	progress -	5	xxviii	-16	progress,
4	xxviii	20	child, -	5	xxviii	-13	child,
4	xxviii	-13	age -	5	xxviii	-8	age,
4	xxviii	-8	retain, -	5	xxviii	-3	retain,
4	xxviii	-4	finish -	5	xxix	2	finish;
4	xxviii	-3	bird -	5	xxix	3	bird,
4	xxix	7	error -	5	xxix	14	error,
5	xxix	18	step in art, by	6	xxix	18	step in art by
Complete	xxix	7	well known	Library	31	21	well-known
3	xxix	23	and,	4	xxix	23	and
4	xxix	-13	sake, -	5	xxix	-8	sake,
4	xxix	-12	house painters	5	xxix	-7	house-painters
4	xxix	-11	art, -	5	xxix	-6	art,
4	xxix	-10	end, -	5	xxix	-5	end,
4	xxix	-7	manner	5	xxx	3	manner,
4	xxx	1	existence, ¹	5	xxx	7	existence ¹ ,
5	xxx	7	existence ¹ ,	6	xxx	7	existence, ¹
4	xxx	8	accident -	5	xxx	14	accident,
4	xxx	10	flowers, -	5	xxx	15	flowers,
4	xxx	16	duty, -	5	xxx	-15	duty,
4	xxx	-9	"generalized," -	5	xxxi	2	"generalized;"
Complete	xxx	-5	developes	Library	33	-4	develops
4	xxx	fn1	show -	5	xxx	fn1	show,
4	xxxi	1	landscape "painters,	5	xxxi	9	"landscape painters,
4	xxxi	4	alas,	5	xxxi	11	alas
4	xxxi	6	face.*****	5	xxxi	14	face……
Complete	xxxi	11	Athenæum	Library	34	13	Athenæum
6	xxxi	15	art;	7	xxxi	18	art:
4	xxxi	16	animal;	5	xxxi	23	animal:
5	xxxi	-16	animal:	6	xxxi	-16	animal;
4	xxxi	-13	union	5	xxxi	-7	union,
4	xxxi	-11	ruin,	5	xxxi	-5	ruin;
Complete	xxxi	-9	Athenæum	Library	35	1	Athenæum
Autograph	xxxi	-2	or kind;	Complete	xxxi	-2	or kind,
Autograph	xxxi	-1	and ruin;	Complete	xxxi	-1	and ruin,
4	xxxii	1	observation	5	xxxii	7	observation,
4	xxxii	3	fact	5	xxxii	9	fact,
4	xxxii	6	form,	5	xxxii	12	form
4	xxxii	9	self evident	5	xxxii	15	self-evident
4	xxxii	10	mis-stated	5	xxxii	17	misstated
4	xxxii	14	Turner -	5	xxxii	20	Turner,
4	xxxii	17	slate, -	5	xxxii	-15	slate;
4	xxxii	-16	canvass -	5	xxxii	-10	canvass;
4	xxxii	-14	that	5	xxxii	-8	that,
4	xxxii	-13	painter	5	xxxii	-7	painter,
Autograph	xxxii	3	half man half horse	Complete	xxxii	3	half man, half horse
Complete	xxxii	19	proposition	Library	35	-2	proposition [sic]
Complete	xxxii	21	Athenæum	Library	36	1	Athenæum
3	xxxii	-5	herbarium	4	xxxii	-5	herbarium;
4	xxxii	-5	hebarium;	5	xxxiii	2	hebarium,
Complete	xxxii	-5	Canute	Library	36	15	"Canute"
4	xxxiii	2	habits;	5	xxxiii	8	habits,
4	xxxiii	9	earth -	5	xxxiii	15	earth,
3	xxxiii	-10	field,	4	xxxiii	-10	field;
4	xxxiii	-7	relation to	5	xxxiii	-1	relation to,
4	xxxiii	-6	other, -	5	xxxiv	1	other,
4	xxxiv	2	impotence -	5	xxxiv	8	impotence,
3	xxxiv	3	carcase	4	xxxiv	3	carcass
4	xxxiv	-14	them	5	xxxv	4	them,
4	xxxiv	-13	different -	5	xxxv	5	different,
4	xxxiv	-2	different -	5	xxxv	6	different,
4	xxxiv	-11	landscape -	5	xxxv	7	landscape,
4	xxxiv	fn1	this -	5	xxxiv	fn1	this,
3	xxxiv	fn7	Canute	4	xxxiv	fn7	"Canute"
3	xxxiv	fn8	sea shore	4	xxxiv	fn8	sea-shore
4	xxxiv	fn-5	Nature	5	xxxiv	fn-5	nature
Complete	xxxiv	fn-3	"Canute"	Library	38	fn-4	"Canute"
3	xxxv	2	rocks'	4	xxxv	2	rock's
4	xxxv	3	after treatment	5	xxxv	10	after-treatment
4	xxxv	4	interference:-	5	xxxv	11	interference;
4	xxxv	-4	guazzetto; ¹	5	xxxvi	1	guazetto ¹ ;
4	xxxv	fn1	[quotation from Don Juan not in quotation marks.]	5	xxxv	fn1	[quotation from Don Juan in quotation marks.]
3	xxxvi	4	picture,	4	xxxvi	4	picture
4	xxxvi	6	action,	5	xxxvi	11	action
4	xxxvi	7	plan:	5	xxxvi	12	plan;
4	xxxvi	13	accumulation,	5	xxxvi	18	accumulation
3	xxxvi	24	"Il Mulino"	4	xxxvi	24	Il Mulino
3	xxxvi	28	life,	4	xxxvi	28	life;
4	xxxvi	-3	military:	5	xxxvii	8	military;
Complete	xxxvi	-3	Il Mulino	Library	41	12	"Il Mulino"
Complete	xxxvi	-1	brook side	Library	41	14	brook-side
3	xxxvii	1	repair,	4	xxxvii	1	repair;
4	xxxvii	3	river, with … mill, (for …	5	xxxvii	13	river with … mill (for …
4	xxxvii	5	temple,)	5	xxxvii	15	temple),
Complete	xxxvii	13	watermill	Library	41	-1	water-mill
3	xxxvii	15	landscape,	4	xxxvii	15	landscape;
4	xxxvii	15	i.e.	5	xxxvii	-12	i. e.
4	xxxvii	16	ensure	5	xxxvii	-10	insure
6	xxxvii	18	nature,	7	xxxvii	-12	Nature,
3	xxxvii	19	analyse	4	xxxvii	19	analyze
4	xxxvii	-6	purple,	5	xxxviii	7	purple
4	xxxvii	-4	rests	5	xxxviii	9	rests,
4	xxxvii	-1	mount	5	xxxviii	10	Mount
5	xxxvii	25	i.e.	6	xxxvii	18	i.e.
Complete	xxxvii	-12	i.e ., a group	Library	42	15	i.e. a group
4	xxxviii	1	stedfastly	5	xxxviii	11	steadfastly
4	xxxviii	7	mount	5	xxxviii	17	Mount
4	xxxviii	17	City	5	xxxviii	-9	city
4	xxxviii	-11	Campagna,	5	xxxix	3	Campagna
Complete	xxxviii	-1	watermill	Library	44	12	water-mill
4	xxxix	5	loving,	5	xxxix	18	loving
3	xxxix	8	only,	4	xxxix	8	only;
3	xxxix	10	kept it,	4	xxxix	10	kept it;
4	xxxix	10	it; ¹	5	xxxix	-19	it ¹ ;
4	xxxix	17	and the	5	xl	7	and
5	xxxix	-1	kept it ¹ ;	6	xxxix	14	kept it ¹ and
3	xxxix	fn10	The recommending	4	xxxix	fn11	The recommendating
3	xxxix	fn12	that they are at once, on all, and to all, students of the gallery, a satire and a warning. Art	4	xxxix	fn13	that we believe the student of the gallery can receive no sterner warning than it conveys. Art
4	xxxix	fn-5	saint-worship, excommunicates himself from all benefit of the Church, and deprives	5	xxxix	fn5	saint-worship, deprives
4	xxxix	fn-11	shunned, -	5	xxxix	fn-5	shunned:
4	xxxix	fn-10	scripture,	5	xxxix	fn-4	Scripture,
4	xxxix	fn-6	works,	5	xl	fn-1	works
4	xl	10	(not the materials, observe,)	5	xli	3	not the materials, observe,
4	xl	11	emotion	5	xli	4	emotion,
4	xl	12	long-studied	5	xli	5	long studied
3	xl	13	forms;	4	xl	13	forms:
4	xl	13	forms:	5	xli	6	forms;
4	xl	14	"imagination;"	5	xli	7	"imagination,"
3	xl	15	imagination,	4	xl	15	imagination;
3	xl	26	scenery,	4	xl	-10	scenery;
3	xl	-7	art,	4	xl	-5	art;
4	xl	fn2	paint,	5	xl	fn8	paint
4	xl	fn4	hundred guinea	5	xl	fn10	hundred-guinea
4	xl	fn5	manufacture -	5	xl	fn11	manufacture,
4	xl	fn6	conception -	5	xl	fn12	conception,
4	xl	fn7	sense -	5	xl	fn13	sense;
4	xl	fn9	bits -	5	xl	fn15	bits,
4	xl	fn10	corn -	5	xl	fn17	corn,
4	xl	fn11	mind -	5	xl	fn-12	mind,
4	xl	fn13	hour.	5	xl	fn-10	hour?
4	xl	fn-9	him -	5	xl	fn-9	him;
4	xl	fn-7	sides;	5	xl	fn-7	sides,
Complete	xl	fn16	chickweed	Library	46	fn15	chick-weed
Complete	xl	fn16	petite	Library	46	fn15	petite
4	xli	1	structure; neither	5	xli	12	structure. Neither
4	xli	9	mind	5	xli	-18	mind,
4	xli	13	thought;	5	xli	-14	thought:
Complete	xli	-10	Since then,	Library	48	9	Since, then,
3	xlii	-1	laborious,	4	xlii	2	laborious;
4	xlii	4	hard,	5	xlii	15	hard
4	xliii	2	Megartherium	5	xliii	13	megatherium
4	xliii	6	periodicals,	5	xliii	17	periodicals
4	xliii	7	believe in general	5	xliii	18	believe, in general,
6	xliii	12	[change in Greek character: omicron with rough breathing and accent]	7	xliii	-17	[change in Greek character: omicron with rough breathing and no accent)
4	xliii	-16	art, is	5	xliii	-4	art is,
4	xliii	-14	I had rather	5	xliii	-1	I would rather
4	xliii	-8	now -	5	xliv	5	now,
4	xliv	6	(Blackwood,)	5	xliv	-9	(Blackwood),
Complete	xliv	13	Athenæum	Library	52	9	Athenæum
Complete	xliv	17	Blackwood	Library	52	13	Blackwood
Complete	xliv	-4	Blackwood	Library	52	18	Blackwood
Complete	xliv	-	[Preface to 3rd ed and Preface to New ed omitted]	Library	52	-	[Preface to 2 ^nd ed. followed here by Preface to 3 ^rd ed & Preface to New Ed (1873)]
3	xliv	-3	not ,	4	xliv	-3	not ;
4	xliv	-1	ascertaining - What	5	xliv	-1	ascertaining what
1	xii	-	[no preface to third edn]	3	xlv	-	PREFACE/TO THE THIRD EDITION [to page xlvi]
3	xlv	1	[Preface to 3rd edn follows to page xlvi]	4	xlv	1	[Preface to 3 ^rd edn not in 4 ^th edn]
6	xlvii	10	inconsistency … .33	7	xlvii	10	inconsistency … .3
4	xlvii	III§1	anything	5	xlvii	III§1	any thing
Complete	xlviii	I§9	beauty	Library	58	I§9	beauty,
4	xlviii	II	Uneducated	5	xlviii	II	uneducated
5	xlviii	II§8	Sec.I	6	xlviii	II§8	Sect.
Autograph	xlix	IV§4	blameable	Complete	xlix	IV§4	blamable
4	l	VII	Foregoing	5	l	VII	foregoing
5	l	VII§16	lower	6	l	VII§16	Lower
6	l	VII§31	architecture	7	l	VII§31	architecture,
6	li	VII§42	compositions	7	li	VII§42	compositions,
Complete	lii	II§9	Napoleon	Library	62	II§9	"Napoleon"
Autograph	lii	III§3	School.	Complete	lii	III§3	School
Complete	lii	III§3	Italian School	Library	63	III§3	Italian school
6	liii	III§3	Italian school	7	liii	III§3	Italian School
4	liii	IV	Dependent	5	liii	IV	dependent
Autograph	liii	IV§6	principle.	Complete	liii	IV§6	principle
4	liv	I§5	Nature, and	5	liv	I§5	Nature and
4	liv	I§8	modern masters	5	liv	I§8	Turner
Complete	lv	III§2	or thought	Library	65	III§2	nor thought
4	lv	III§27	cloud drawing	5	lv	III§27	cloud-drawing
4	lvi	-	[omitted in 4 - added to IV§35. ]	5	lvi	IV§31	§31. Morning on the plains
6	lvi	9	in definiteness	7	lvi	9	indefiniteness
4	lvi	IV§12	Jumieges	5	lvi	IV§12	Jumiéges
Complete	lvi	IV§12	Jamiéges	Library	67	IV§12	Jamièges
4	lvi	IV§13	Illustration of the nature of clouds in the opposed forms of smoke and steam	5	lvi	IV§13	[omitted, and the numbering of the sections is changed accordingly.]
4	lvi	IV§17	17. The individual character of its parts	5	lvi	-	[omitted in 5 ]]
4	lvi	IV§18	18. Deep studied form of swift rain-cloud in the Coventry	5	lvi	IV§16	16. Swift rain-cloud in the Coventry
4	lvi	IV§23	23. Absence of this effect in the works of the old masters	5	lvi	-	[omitted in 5 ]]
4	lvi	IV§28	§28. His effects of mist so perfect, that if not at once understood, they can no more be explained or reasoned on than nature herself	5	lvi	-	[omitted in 5 ]
4	lvi	IV§29	§29. Various instances	5	lvi	-	[omitted in 5 ]
4	lvi	IV§35	§35. Sketch … old masters. Morning on the plains	5	lvi	IV§30	§30. Sketch … old masters.
Autograph	lvii	II§9	aërial	Complete	lvii	II§9	aerial
Complete	lvii	II§9	aerial	Library	68	II§9	aërial
4	lvii	V	Modern Art	5	lvii	V	Turner
Autograph	lviii	III§20	,&c.	Complete	lviii	III§20	,etc.
5	lviii	IV§2	and obtuseness	6	lviii	IV§2	andobtuseness [typo]
4	lix	I	Painted	5	lix	I	painted
4	lx	II	Painted	5	lx	II	painted
4	lx	II§2	§2. The calm rivers of De Wint, J.Holland &c.	5	lx	-	[omitted in 5 ]
4	lx	II§12	§12. But want of feeling. General sum of truth presented by modern art	5	lx	II§11	§11. But want of feeling.
Autograph	lxi	III§12	agitation, &c.,	Complete	lxi	III§12	agitation, etc.,
Complete	lxi	III§16	Calm	Library	72	III§16	Calm,
5	lxi	III§22	interrupted	6	lxi	III§22	interupted
Complete	lxi	III§31	effect	Library	73	III§31	effect,
4	lxii	I§7	generally,	5	lxii	I§7	generally
4	lxii	I§35	§35. Conclusion. Works of J. Linnell and S. Palmer	5	lxiii	-	[omitted in 5 ]
Autograph	lxiii	-	[Postscript and Additional notes omitted]	Complete	lxiii	-2	Postscript … 422 Additional notes …424
Complete	lxiii	-2	Postscript	Library	75	-1	Postscript (1851)
Complete	lxiii	-1	Additional notes [from Frondes ]	Library	75	-	[omitted]
4	lxiii	II§5	§5. There is nothing in his works which can be enjoyed without knowledge	5	lxiii	-	[omitted in 5 ]
4	lxiii	II§6	§6. And nothing which knowledge will not enable us to enjoy	5	lxiii	-	[omitted in 5 ]
4	lxiii	II§8	present works	5	lxiii	II§6	last works
1	xiii	1	[Preface to 2 ^nd ed, not in 1 ^st ed]	2	xiii	1	PREFACE TO THE SECOND EDITION [to page lxx]
1	xiii	II§2	nothing than	3	xlvii	II§2	nothing more than
1	xiii	III§3	power	3	xlvii	III§3	power. The meaning of the word "excellence"
1	xvi	II	uneducated Senses	3	l	II	Uneducated Senses
1	xvi	II§8	attributes	3	l	II§8	attributes. Compare Part I. Sect I. Chap. 4
1	xvi	III	relative … first, … particular … general ones.	3	l	III	Relative … First, … Particular … General Ones.
1	xvi	IV	relative … rare … frequent ones	3	l	IV	Relative … Rare … Frequent Ones.
1	xvii	V	relative	3	l	V	Relative
1	xvii	VII	foregoing	3	li	VII	Foregoing
1	xvii	VII	[major revision of sections §6 to §13 in 1 see sections §6 to §47 in 3 ]	3	li	VII	[major revision of sections §6 to §13 in 1 to sections §6 to §47 in 3 ]
1	xvii	VII§1	the aim	3	li	VII§1	the several aims
1	xix	III§6	§6 The perfection … The effect …	3	lii	III§5	§5. The perfection … §6 The effect…
1	xviii	II§1	Incompetence of the late critics of Turner's colour	3	liii	-	[omitted in 3 , subsequent sections renumbered]
1	xix	II§15	His great tenderness in all large spaces of colour	3	liii	-	[§15 in 1 omitted in 3 ]
1	xix	II§22	The perfection …	3	liii	II	[§22 in 1 omitted in 3 ]
1	xviii	II§2	Observation on the colour of G. Poussin’s "La Riccia"	3	liii	II§1	Observations on the colour of G. Poussin's La Riccia
1	xix	II§10	the "Napoleon"	3	liii	II§9	the Napoleon
1	xix	III§3	[Wrongly numbered - should be §2	3	liii	III§2	[correctly numbered in 3 ]
1	xix	III§13	§13 …§15 …	3	liii	III§13	[§13-15 in 1 omitted in 3 ]
1	xix	IV	as dependent	3	liii	IV	as Dependent
1	xx	IV§6	Exception in the landscapes of Rubens	3	liv	IV	[§6 in 1 omitted in 3 ]
1	xx	V	its appearance	3	liv	V	its Appearance
1	xxi	V§5	Nature	3	liv	V§5	Nature,
1	xx	V§14	Canaletti	3	liv	V§14	Canaletto
1	xxi	II§11	"Sunrise on the Sea"	3	lv	II§11	Sunrise on the Sea
1	xxii	28	§19 Compared with the clouds of Backhuysen.	2	lxxx	18	§19 Association of the cirrostratus with the cumulus.
1	xxii	III§16	"Babylon"	3	lvi	III§16	Babylon
1	xxii	III§17	"Pools of Solomon"	3	lvi	III§17	Pools of Solomon
1	xxii	III§18	"Como"	3	lvi	III§18	Como
1	xxii	III§19	Compared with the clouds of Backhuysen	3	lvi	III§19	Association of cirrostratus with cumulus
1	xxii	III§20	"Lake of Geneva"	3	lvi	III§20	Lake of Geneva
1	xxii	III§21	"Amalfi"	3	lvi	III§21	Amalfi
1	xxiii	IV§6	rain cloud	3	lvi	IV§6	rain-cloud
1	xxiii	IV§7	respect. Works of Stanfield	3	lvi	IV§7	respect.
1	xxiii	IV§8	And of Copley Fielding	3	lvi	IV§8	Works of Copley Fielding
1	xxiii	IV§11	rain clouds	3	lvi	IV§11	rain-clouds
1	xxiii	IV§12	"Jumieges"	3	lvi	IV§12	Jumieges
1	xxiii	IV§14	"Llanthony"	3	lvi	IV§14	Llanthony
1	xxiii	IV§15	"Loch Coriskin"	3	lvi	IV§15	Loch Coriskin
1	xxiii	IV§16	"Land's-End"	3	lvi	IV§16	Land's End
1	xxiii	IV§18	Deep-studied…"Coventry"	3	lvi	IV§18	Deep studied….Coventry
1	xxiii	IV§20	"Coventry"	3	lvii	IV§20	Coventry
1	xxiii	IV§25	"Gosport"	3	lvii	IV§25	Gosport
1	xxiii	IV§26	"Dido and Eneas"	3	lvii	IV§26	Dido and Eneas
1	xxiii	IV§28	be explained	3	lvii	IV§28	be xplained [typo]
1	xxiii	IV§32	"Stonehenge"	3	lvii	IV§32	Stonehenge
1	xxiv	I§6	"Marengo"	3	lviii	I§6	Marengo
1	xxv	II§8	The perfection of Turner's vignette to "Jacqueline"	3	lviii	II	[§8 in 1 omitted in 3 ]
1	xxv	II§9	Its peculiar expression of Alpine facts	3	lviii	II	[§9 in 1 omitted in 3 ]
1	xxiv	II§4	"Alps at daybreak"	3	lviii	II§4	Alps at daybreak
1	xxv	II§16	"Borromean Islands"	3	lviii	II§14	Borromean Islands
1	xxv	II§17	"Arona"	3	lviii	II§15	Arona
1	xxv	II§21	Review of the Alpine drawings of modern artists generally. The great excellence of J. D. Harding.	3	lviii	II§19	Effects of snow, how imperfectly studied
1	xxv	II§22	The apparent carelessness of Stanfield in such subjects. Fine feeling of Copley Fielding.	3	lviii	II§20	General principles of its forms on the Alps.
1	xxv	III§5	"Loch Coriskin [typo – missing closing qn mark]]	3	lviii	III§5	Loch Coriskin
1	xxv	III§6	"Glencoe,"	3	lviii	III§6	Glencoe
1	xxv	III§7	"Mount Lebanon"	3	lviii	III§7	Mount Lebanon
1	xxv	III§16	"Daphne and Leucippus"	3	lviii	III§16	Daphne and Leucippus
1	xxv	III§17	"Avalanche and Inundation"	3	lix	III§17	Avalanche and Inundation
1	xxvi	III§20	"Caudebec,"	3	lix	III§20	Caudebec
1	xxvi	III§22	Turner,	3	lix	III§22	Turner
1	xxvi	IV§4	The true outlines are all angular	3	lix	IV	[§4 in 1 omitted in 3 ]
1	xxvi	IV§5	Salvator's are all curved	3	lix	IV	[§5 in 1 omitted in 3 ]
1	xxvi	IV§16	And of Copley Fielding	3	lix	IV	[§16 in 1 omitted in 3 ]
1	xxvi	IV§17	The foreground of Both	3	lix	IV	[§17 in 1 omitted in 3 ]
1	xxvii	IV§25	"Fall of the Tees"	3	lix	IV§21	Fall of the Tees
1	xxvii	IV§29	Llanthony	3	lix	IV§25	Llanthony
1	xxvii	I	as painted	3	lx	I	as Painted
1	xxvii	I	[§13-27 (§13-23 in 1 ) - all section titles different]	3	lx	I	[§13-23 (§13-27 in 1 ) - all section titles different]
1	xxviii	II§6	painting of the sea	3	lx	II§6	painting of sea
1	xxvii	I§4	General rules which regulate the phenomena of water. First, its universality of reflection	3	lx	V§4	Inaccuracy of study of water-effect among all painters
1	xxvii	I§5	How modified by ripple	3	lx	V§5	Difficulty of treating this part of the subject
1	xxvii	I§6	How prolonged and broken	3	lx	V§6	General laws which regulate the phenomena of water. First, the imperfection of its reflective surface
1	xxvii	I§7	How changed in relation of parts	3	lx	V§7	The inherent hue of water modifies dark reflections, and does not affect bright ones
1	xxvii	I§8	Not affected by distance	3	lx	V§8	Water takes no shadow
1	xxvii	I§9	Water receives no shadow	3	lx	V§9	Modification of dark reflections by shadow
1	xxvii	I§10	Works of Canaletti. His management of ripple equally false in near water	3	lx	V§10	Examples on the water of the Rhone
1	xxvii	I§11	And in distant	3	lx	V§11	Effect of ripple on distant water
1	xxvii	I§12	He erred not from ignorance, but impotence	3	lx	V§12	Elongation of reflection by moving water
1	xxvii	I§13	His falseness of colour	3	lx	V§13	Effect of rippled water on horizontal and inclined images
1	xxviii	II	as painted	3	lxi	III	as Painted
1	xxviii	III§12	"Cowes"	3	lxi	III§12	Cowes
1	xxix	III§26	"Llanthony Abbey"	3	lxi	III§26	Llanthony Abbey
1	xxix	III§27	"Mercury and Argus"	3	lxi	III§27	Mercury and Argus
1	xxix	III§29	His drawing of the sea. The essential ideas characteristic of the ocean	3	lxi	III§29	Sea painting. Impossibility of truly representing foam
1	xxix	III§30	Are recklessness, power, and breadth	3	lxi	III§30	Character of shore-breakers, also inexpressible
1	xxix	III§31	How Turner renders them in the "Hero and Leander."	3	lxi	III§31	Their effect how injured when seen from the shore
1	xxix	III§32	In the "Langharne."	3	lxi	III§32	Turner's expression of heavy rolling sea
1	xxix	III§36	"Land's-end"	3	lxi	III§36	Land's End
1	xxix	III§37	And of sea after a continued gale, in the "Snow-storm."	3	lxi	III§37	Open seas of Turner's earlier time
1	xxix	III	[§38 in 3 omitted in 1 ]	3	lxi	III§38	Effect of sea after prolonged storm
1	xxix	III§38	Turner's noblest work, … the "Slave-ship"	3	lxi	III§39	Turner’s noblest work, … the Slave Ship
1	xxix	III§39	Its united excellencies and perfection, as a whole	3	lxi	III§40	Its united excellences and perfection as a whole
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
1	xxx	II§2	Because dependant only on the artist's mode of execution and knowledge of general principles	3	lxiii	II	[§2 in 1 omitted in 3 ]
1	xxx	II§3	Notice of a few characteristic examples of Turner's architecture	3	lxiii	II	[§3 in 1 omitted in 3 ]
3	1	7	so that	4	1	7	so that,
4	1	8	honour and award what is undue	5	1	8	honour, and award what is undue,
Autograph	1	-6	mind,	Complete	1	-6	mind;
3	2	1	literature. For	4	2	1	literature; for
4	2	2	either,	5	2	1	either
6	2	12	imitation,	7	2	12	imitation
6	2	14	individually:	7	2	14	individually;
6	2	-19	- decided	7	2	-18	decided
6	2	-9	them;-	7	2	-9	them;
5	2	12	imitation, in	Autograph	2	12	imitation in
5	2	22	them; - decided	Autograph	2	22	them; decided
5	2	27	until, in	Autograph	2	27	until in
1	2	21	bit of mechanism, or imitation in	3	2	12	piece of mechanism or imitation,
3	2	fn2	probable … individual	4	2	fn2	probable, … individual,
3	2	fn8	multitude,	4	2	fn8	multitude
4	2	fn-4	certain -	5	2	fn-4	certain, -
6	3	-6	uneducated,	7	3	-6	uneducated
3	3	fn15	Byron;	4	3	fn15	Byron:
4	3	fn-18	half-a-dozen	5	3	fn-18	half a dozen
4	3	fn-4	conscience,)	5	3	fn-4	conscience),
5	3	fn-6	uneducated, imagination	Autograph	3	fn-6	uneducated imagination
Complete	3	fn-4	orgagno	Library	82	fn18	orcagno
1	4	fn14	"Hamlet"	3	3	fn-14	Hamlet
1	4	fn-9	M. Agnolo	3	3	fn-7	M. Angelo
1	4	fn-4	Giotto, Cimabue, Fra Bartolomeo, Perugino,	3	3	fn-3	Giotto, Orgagna, Angelico, Perugino,
3	4	11	ages; … blighting,	4	4	11	ages: … blighting
4	4	12	tyrannical – perhaps, even a blighting	5	4	13	tyrannical, perhaps even a blighting,
Complete	4	-5	art,	Library	83	-8	art;
Complete	4	-3	work,	Library	83	-6	work;
1	5	8	Europe is painting in so hopeless a state of degradation as in Rome;	3	4	14	Europe where art is a subject of attention, are its prospects so hopeless, or its pursuit so resultless, as in Rome;
1	6	12	conviction that in all questions respecting the art of the fourteenth and fifteenth centuries, we ought not to class the historical and landscape painters together, as possessing any thing like equal rank in their respective walks of art. It is because I look with the most devoted veneration upon M. Angelo, Raffaelle, and Da Vinci, that I do not distrust the principles which induce me to look with contempt on Claude, Salvator, and Gaspar Poussin. Had I disliked all, I should have believed in and bowed before all; but in my admiration of the greater, I consider myself as having warrant for the repudiation of the less. I feel assured that they cannot with reason be admired together,-that the principles of art on which they worked are totally opposed, and that the landscape painters of the old school have been honoured only because they had in them a shadow and semblance of the manner of the nobler historical painters, whose principles in all important points they directly reversed. But be this as it may, let it be	3	5	11	conviction that we ought not to class the historical painters of the fifteenth, and landscape painters of the seventeenth, centuries, together, under the general title of "old masters," as if they possessed anything like corresponding rank in their respective walks of art. I feel assured that the principles on which they worked are totally opposed, and that the landscape painters have been honoured only because they exhibited in mechanical and technical qualities, some semblance of the manner of the nobler historical painters, whose principles of conception and composition they entirely reversed. The course of study which has led me reverently to the feet of Michael Angelo and Da Vinci, has alienated me gradually from Claude and Gaspar – I cannot at the same time, do homage to power and to pettiness – to the truth of consummate science, and the mannerism of undisciplined imagination. And let it be
1	6	12	conviction that in all questions respecting the art of the fourteenth and fifteenth centuries, we ought not to class the historical and landscape painters together, as possessing any thing like equal rank in their respective walks of art. It is because I look with the most devoted veneration upon M. Angelo, Raffaelle, and Da Vinci, that I do not distrust the principles which induce one to look with contempt on Claude, Salvator, and Gaspar Poussin. Had I disliked all, I should have believed in and bowed before all; but in my admiration of the greater, I consider myself as having warrant for the repudiation of the less. I feel assured that they cannot with reason be admired together, - that the principles of art on which they worked are totally oppressed, and that the landscape painters of the old school have been honoured only because they had in them a shadow and semblance of the manners of the nobler historical painters whose principles in all important points they directly reversed. But be this as it may, let it be	2	6	11	conviction that we ought not to class the historical painters of the fifteenth, and landscape painters of the seventeenth, centuries, together, under the general title "old masters," as if they possessed anything like corresponding rank in their respective walks of art. I feel assured that the principles on which they worked are totally opposed, and that the landscape painters have been honoured only because they exhibited in mechanical and technical qualities, some semblance of the manner of the nobler historical painters, whose principles of conception and composition they entirely reversed. The course of study which has led reverently to the fact of Michael Angelo and Da Vinci, has alienated me gradually from Claude and Gaspar- I cannot at the same time, do homage to power and pettiness-to the truth of consummate science, and the mannerism of undisciplined imagination. And let it be
Autograph	5	-	demonstration,	Complete	5	-	demonstration.
3	5	13	centuries,	4	5	13	centuries
4	5	-16	Gaspar -	5	5	-15	Gaspar;
4	5	-11	veneration, which	5	5	-10	veneration which,
Autograph	5	-18	exhibited	Complete	5	-18	exhibited,
1	7	3	old masters	3	5	-6	elder masters
3	5	-4	Canaletti	4	5	-4	Canaletto
6	5	-2	somethings,	7	5	-3	somethings
5	6	1	for me in	Autograph	6	1	for me, in
Autograph	6	2	work	Complete	6	2	work,
3	6	11	where it	4	6	11	where they
4	6	-14	impotent there	5	6	-15	impotent, there,
5	6	19	forget, that	Autograph	6	19	forget that
5	6	22	there , are	Autograph	6	22	there are
5	6	22	love,	Autograph	6	22	love
6	7	-	language.	7	7	-	language
4	7	14	itself,	5	7	14	itself
4	7	-3	intellect,	5	7	-2	intellect;
1	10	16	force of	3	8	9	force in
4	8	1	precision	5	8	1	precision,
3	8	15	chief-mourner	4	8	15	Chief-mourner
4	8	-10	departure	5	8	-9	departure,
Autograph	8	-9	life - how	Complete	8	-9	life, how
4	9	3	composition	5	9	5	composition,
4	9	9	robe or	5	9	11	robe and
4	9	-7	writing-masters	5	9	-5	writing masters
6	9	3	composition,	7	9	5	composition
6	9	-7	writing masters	7	9	-5	writing-masters
5	9	5	composition, and	Autograph	9	5	composition and
5	9	33	writing masters.	Autograph	9	33	writing-masters.
Autograph	9	5	composition	Complete	9	5	composition,
3	9	-3	words:	4	9	-3	words;
Autograph	10	15	execution	Complete	10	15	execution,
4	10	16	realization	5	10	-18	realisation
4	10	17	themselves,	5	10	-17	themselves
5	10	20	realisation	Autograph	10	20	realization
4	10	-15	excrescence,	5	10	-11	excrescence
6	10	-9	that strictly	7	10	-7	that, strictly
Autograph	10	-1	idea	Complete	10	-1	idea,
1	13	4	inanity. A pencil scratch of Wilkies' on the back of a letter is a greater and better picture, - and I use the term picture in its full sense, - than the most laboured and luminous canvass that ever left the easel of Gerard Dow. A finished work	3	10	15	inanity. A finished work
1	13	10	colour and chiaroscuro - valuable in themselves, are	3	10	16	colour and realization - valuable in themselves, - are
1	14	10	Wholly, which like	3	11	9	Wholly, which, like
4	11	11	aim:	5	11	16	aim
4	11	-8	greatest,	5	11	-9	greatest
5	11	2	"things which in thinking;"	6	10	-1	"things which in thinking;" [qn marks incorrect]
6	11	-17	Now	7	11	-17	Now,
6	11	-16	say therefore	7	11	-16	say, therefore,
5	11	22	create, and	Autograph	11	22	create and
3	11	-3	thinking,	4	11	-3	thinking;
6	11	-3	If this then	7	11	-3	If this, then,
4	12	1	given,	5	12	1	given
3	12	6	nature,	4	12	6	nature;
3	12	-11	please	4	12	-11	please,
4	12	-10	relations,	5	12	-11	relations
3	12	-7	ideas	4	12	-7	ideas;
4	13	13	production	5	13	12	production ¹ [fn added ‘Vide Appendix 17. To Stones of Venice, vol.i.’]
4	13	15	"finish,"	5	13	15	"finish"
Autograph	13	9	decoration, &c.	Complete	13	9	decoration, etc.
3	13	21	tenfold,	4	13	21	tenfold;
3	13	-10	received,	4	13	-10	received;
3	13	-6	pleasures,	4	13	-6	pleasures
6	13	fn1	Appendix 17.	7	13	fn1	Appendix 17
Complete	13	fn1	Vide…to Stones of Venice	Library	94	fn1	Vide … Stone of Venice
4	14	14	hair:"	5	14	15	hair;"
4	14	15	power,	5	14	16	power
4	14	18	excellent,	5	14	19	Excellent,
Autograph	14	-20	"good," &c.;	Complete	14	-20	"good," etc.;
1	18	10	things,	3	14	-9	things
6	15	6	excellence:	7	15	9	excellence;
6	15	8	question:	7	15	11	question;
5	15	8	excellence:	Autograph	15	8	excellence;
5	15	10	production:	Autograph	15	10	productio;
3	15	18	pleasure. And	4	15	18	pleasure and
4	15	18	pleasure, and	5	15	19	pleasure. And
4	16	2	thought,	5	16	2	thought
6	16	15	16.	7	16	15	16
4	16	-11	says,	5	16	-11	says:
Autograph	17	16	whenever,	Complete	17	16	whenever
4	17	-15	this;	5	17	-13	this:
4	17	-9	flat;	5	17	-7	flat:
4	17	-6	&c. are given … wax-work	5	17	-4	&c., are given … waxwork
4	17	-5	experience; but	5	17	-3	experience. But
Autograph	17	-4	&c.,	Complete	17	-4	etc.,
Complete	17	-4	waxwork	Library	101	4	wax-work
4	17	-1	[fn includes Greek quotation]	5	17	-1	[fn does not include Greek quotation]
6	17	fn1	i.11.23.	7	17	fn1	1.11.23.
1	20	-4	imitation ." We may be sure of the contrary: for if the object be undesirable in itself, the closer the imitation the less will be the pleasure.	3	16	-8	imitation ." In which case the real pleasure
1	21	-4	to be.	3	17	21	to be. [fn here added from Aristotle's Rhetoric 1.11.23 - in Greek]
1	21	-3	this:	3	17	22	this;
1	22	20	imitation,	3	18	5	imitation;
1	22	26	a thing being intentionally different from what it seems to be;	3	18	10	a thing's intentionally seeming different from what it is;
1	22	31	is precisely … the subject be a Madonna or a lemon-peel.	3	18	13	would be precisely … the subject of it were the hero or his horse.
1	22	-5	pleasure	3	18	16	pleasure,
4	18	2	bona	5	18	4	bonâ
3	18	26	thought are	4	18	26	thought is
4	18	-15	art; first	5	18	-14	art. First
1	23	11	pleasure, and one precisely of the same order and degree, whether it be received from the bristles of a bear or the tears of a Magdalen. We	3	18	-10	pleasure. We
Autograph	19	7	furniture, &c.	Complete	19	7	furniture, etc.
3	19	8	them;	4	19	8	them:
4	19	8	them: to	5	19	9	them. To
4	19	-15	watch-maker	5	19	-16	watchmaker
4	19	-14	Diorama	5	19	-14	diorama
1	24	8	and some industry	3	19	17	and moderate industry
4	20	1	truth	5	20	1	Truth
1	26	9	They speak to the senses only: truth to the mind.	3	21	4	They speak to the perceptive faculties only: truth to the conceptive.
1	26	12	imitation only in the resemblance	3	21	8	imitation requires the resemblance
4	21	-13	was nobler	5	21	-13	is nobler
4	21	-2	14,	5	21	-2	14.
5	21	10	tree	6	21	10	treee [typo]
5	21	15	recognizes	6	21	15	recognises
5	21	19	recognizable	6	21	19	recognisable
6	21	-2	14,	7	21	-2	14.
Autograph	21	-2	No. 14.	Complete	21	-2	No. 14
3	21	-3	seaport	4	21	-1	² Seaport ²
1	27	12	the form	3	22	1	the apparent form
3	22	2	.Hour	4	22	2	:hour
5	22	6	approach to	Autograph	22	6	approach, to
5	22	16	colour be	Autograph	22	16	colour, be
5	22	18	facts then	Autograph	22	18	facts, then
Autograph	22	16	colour,	Complete	22	16	coulour
3	22	19	projection,	4	22	19	projection;
1	28	14	praise. There never had been such pictures painted since the time of Appelles; Rubens	3	22	-5	praise. Rubens
5	23	7	SORT!"	6	23	7	SORT."
6	23	7	SORT."	7	23	7	SORT!"
4	26	-17	inwoven	5	26	-17	interwoven
1	28	-9	Had I wished to know if the anatomy of the limbs was faithfully marked - if their colour was truly expressive of light, and beautiful in itself - if the composition of the picture was perfect, or its conception great - I might as well have inquired of one of the Flanders mares in the stable at the Fleur de Blé, as of this gentleman. He could only	3	23	7	This gentleman could only
1	31	10	further	3	25	8	farther
1	31	-6	extent,	3	25	-9	extent;
1	32	13	taste	3	26	7	"taste"
1	33	1	intellect,	3	26	-10	intellect;
1	33	15	degree,	3	27	2	degree;
1	33	21	parts,	3	27	6	parts;
1	33	22	nature	3	27	7	nature,
3	27	7	any thing	4	27	7	anything
4	27	7	pure,	5	27	7	pure
3	27	10	opposition, spots	4	27	10	opposition-spots
1	34	1	beauty then,	3	27	-3	beauty, then,
6	28	13	nature),	7	28	13	nature,)
5	28	19	light, to	Autograph	28	19	light to
1	35	-6	enjoy;	3	28	-8	enjoy;
1	35	-2	feeling,	3	28	-4	feeling;
1	36	11	painting,	3	29	6	painting;
1	36	15	all art,	3	29	9	all art;
1	36	20	here,	3	29	13	here;
1	36	-7	to take in	3	29	22	to take, in
4	29	3	passion,	5	29	3	passion
3	29	24	may even	4	29	24	may, even
4	29	-12	4,	5	29	-11	4.
1	37	3	Praxiteles,	3	29	-9	Praxiteles;
1	37	12	Madonna,	3	29	-1	Madonna;
1	37	18	pleasure,	3	30	4	pleasure;
3	30	6	further	4	30	6	farther
1	37	-9	concerned,	3	30	-8	concerned;
1	37	-2	require	3	30	-3	require,
5	31	6	artist; and secondly	Autograph	31	6	artist: and, secondly
4	31	9	truths,	5	31	9	truths
1	38	-6	class,	3	31	-4	class;
1	39	6	relate	3	32	5	relate,
1	39	10	power,	3	32	9	power;
1	39	22	felt. Supposing ourselves even capable of ascertaining in our own persons, truth of what is often by sculptors affirmed of the Laocoon, that the knowledge developed in it must have taken a life-time to accumulate, we should yet scarcely receive from that statue the same sensation of power with which we are at once impressed by him who hurled the mighty prostration of the limbs of the Jonah along the arch of the Sistine. There are	3	32	30	felt. There are
4	32	1	great painter is not one of the fingers, not	5	32	1	great painter is not
3	32	-8	art,	4	32	-8	art-
4	32	-1	Twilight to the Day,	5	32	-1	Twilight, or the Day,
5	32	-5	receive	6	32	-7	recive [typo]
1	40	15	limbs of the Notte e Giorno, of the Cappella Medici,	3	32	-1	limbs of the Twilight to the Day, of the Cappella dé Medici
4	33	2	gallery -	5	33	2	gallery, -
4	33	-16	rough hewn	5	33	-15	rough-hewn
Autograph	33	-4	not observe,	Complete	33	-4	not, observe,
4	34	1	power, if	5	34	2	power, if,
4	34	-9	pure.	5	34	-10	pure, and ending.
4	35	1	"execution,"	5	35	1	Execution,
4	35	-1	a	5	35	-1	‘a
1	40	24	end,	3	33	8	end;
1	41	4	perfection,	3	33	21	perfection;
1	41	10	commencement,	3	33	26	commencement;
1	41	11	mind,	3	33	28	mind;
1	41	15	with it,	3	33	-7	with it;
1	41	23	picture,	3	33	-1	picture;
1	41	24	power, if,	3	34	1	power, if
1	41	-6	sketch;	3	34	7	sketch,
1	42	1	exertion :	3	34	12	exertion;
1	42	3	further	3	34	13	farther
1	42	3	further	3	34	13	farther
1	42	10	picture, and the idea and pleasure following on the estimate of it, are unquestionably far higher than can legitimately be traced in, or received from, the works of any other water-colour master now living. §But	3	34	19	picture is of the highest order, and the enduring pleasure following on the estimate of it pure. §But
1	43	1	"Execution"	3	35	1	"execution"
1	44	9	touch;-…such;-	3	36	3	touch,-…such,-
4	36	9	most incomprehensible	5	36	9	least comprehensible
3	36	24	one	4	36	24	one,
4	36	-9	execution;	5	36	-9	execution,
4	37	1	132	5	37	1	132.
4	37	7	rude,	5	37	7	rude
6	37	8	all)	7	37	8	all),
6	37	9	The background	7	37	9	The background
Autograph	37	9	back-ground	Complete	37	9	background
6	37	11	Finally	7	37	11	Finally
Autograph	37	15	back-ground	Complete	37	15	background,
Autograph	37	-17	back-ground	Complete	37	-17	background.
4	37	-12	it, vanishes,	5	37	-12	it vanishes,
1	46	21	instance,	3	38	1	instance;
1	46	-3	execution,	3	38	13	execution;
1	47	4	are fine instances	3	38	17	are good instances
4	38	6	result	5	38	7	result,
4	38	-17	velocity, ¹	5	38	-16	velocity ¹ ,
3	38	fn8	hand	4	38	fn8	hand,
4	38	fn-6	Drawing-master	5	38	fn-6	drawing-master
4	38	fn-1	Compare Sect. II. Chap. II #21. Note.	5	38	fn-1	Compare Part II. Sect. II.#21. (note.)
6	38	fn-1	(note.)	7	38	fn-1	(note).
1	47	fn-17	such is every effort on the part of the engraver to give roughness or direction of surface by wriggling or peculiarly directed lines, and such the softness and smoothness which are the great attraction of Carlo Dolci. These are the exhibition of particular powers, and tricks of the hand and fingers, in total forgetfulness of any end whatsoever to be attained thereby, and would scarcely deserve the pains of criticism were it not for the unaccountable delusion that makes men even of taste and feeling suppose that to be right in an engraving, which they would cry out against as detestable and intolerable in a drawing. How long are our engravers to be allowed to go on murdering the foregrounds of our great artists, twisting and wriggling and hatching and scratching over the smooth stones and glossy leaves, until St. Lawrence's gridiron is a jest to the martyrdom of the eye, "making out" everything that the artist intentionally concealed, and smothering everything that he made refined or conspicuous? When shall we have an engraver who will touch his steel as if he had fingers and feeling!	3	38	fn-5	such, on the other hand the softness and smoothness which are the great attraction of Carlo Dolci, and such the exhibition of particular powers and tricks of the hand and fingers, in total forgetfulness of any end whatsoever to be attained thereby, which is especially characteristic of modern engraving. Compare Sect. II. Chap. II § 21. Note.
1	48	12	vices,	3	39	9	vices;
4	39	8	manner, is becoming	5	39	10	manner has become
4	39	9	vices;	5	39	11	vices, -
3	39	-8	astray	4	39	-8	astray,
6	39	-5	view ( ….art),	7	39	-3	view, ( ….art,)
1	48	-7	one,	3	39	-6	one;
3	40	1	that	4	40	1	that,
3	40	3	that … division	4	40	3	that, … division,
3	40	6	Any thing	4	40	6	Anything
4	40	11	feelings. Greatness of matter, space, power, virtue, or beauty, are thus all sublime;	5	40	11	feelings; - greatness, whether of matter, space, power, virtue, or beauty: and
4	40	13	which in its perfection	5	40	13	which, in its perfection,
1	49	10	sublimity is therefore	3	40	9	sublimity is, therefore,
1	49	15	not in someway or degree	3	40	13	not, in some way or degree,
1	50	1	the vast doom	3	40	-2	the doom
1	50	13	feelings less partaking of its nature than those of a coward.	3	41	9	feelings less capable of its perception than those of a coward.
4	41	3	"fall	5	41	3	"Fall
4	41	5	God?"	5	41	5	God"?
6	41	6	A little	7	41	6	A little
Autograph	41	-	the mind.	Complete	41	-	the mind
3	41	14	sublime,	4	41	14	sublime;
6	41	19	assertion,	7	41	19	assertion
Autograph	41	-10	sublimis;	Complete	41	-10	sublimis,
3	41	-8	definition,	4	41	-8	definition;
4	42	1	The [not indented]	5	42	1	The [indented]
4	42	2	nature.	5	42	2	nature:
4	42	4	matters,	5	42	4	matters;
3	42	5	composition,	4	42	5	composition;
4	42	6	ideal.	5	42	6	ideal:
1	51	-3	thought; as it is new, leading us to observe the powers of fancy and imagination; as it is just, the force of moral truth.	3	42	-1	thought.
4	43	3	ends;	5	43	3	ends:
5	43	13	him: but	Autograph	43	13	him; but
3	43	-6	solitude, … him. But … him,	4	43	-6	solitude; … him: but … him;
1	53	5	to him, … thoughts, … enthusiasm, … beautiful, … base,	3	44	1	to him; … thoughts; … enthusiasm; … beautiful; … base,
1	53	-1	and use of	3	44	11	and reference to
5	44	4	all that is base	Autograph	44	4	all that it base
3	44	13	times,	4	44	13	times;
4	44	-4	common -	5	44	-14	common, -
1	53	24	beauty	3	44	16	beauty;
1	54	6	connoisseur; and of those "standard" pictures with which half the walls of Europe are covered, and for the manufacture of which recipes are to be found in most works on art. "Take one-eighth light, three-eighths middle tint, four-eighths shadow, mix carefully, flavour with cochineal, cool with ultramarine, and serve up with sentiment." Nay, even where a high ideal has been sought for, the search seldom produces more than one good picture, on which a few clever but monotonous changes are rung by the artist himself, and innumerable discords by his imitators, ending in the multiplication ad nauseam of the legitimate landscape ragout, composed of a large tree, a bridge, a city, a river, and a fisherman.	3	44	-6	connoisseur.
5	45	2	coruscation	6	45	2	corruscation
6	45	6	statement	7	45	6	treatment
4	45	8	beautiful;	5	45	8	beautiful:
4	45	11	mankind -	5	45	11	mankind, -
4	45	12	all:	5	45	12	all;
4	45	-18	intellect -	5	45	-18	intellect,
4	45	-8	unseeen, [typo]	5	45	-7	unseen
Complete	45	-8	desires, that	Library	136	14	desires,that,
4	46	12	there: and	5	46	12	there. And
4	46	13	and are	5	46	13	and be
4	46	18	them;	5	46	18	them:
4	46	20	brickwork;	5	46	20	brickwork,
4	46	-17	matter:	5	46	-16	matter;
6	46	-9	through it:	7	46	-8	through it;
5	46	-8	through it;	6	46	-9	through it:
4	46	-6	to us. [fn omitted in 4 ]	5	46	-4	to us. ¹ [fn added: Compare Stones of Venice, vol.i. chap. xxx. §5. ]
4	46	-5	feeling,	5	46	-3	feeling
4	46	-4	time;)	5	46	-2	time);
4	46	-1	reasons;	5	47	2	reasons:
4	47	14	picture,	5	47	16	picture
4	47	15	statements;	5	47	17	statements:
Complete	47	22	criticise	Library	138	17	criticize
4	47	-11	examination,	5	47	-9	examination
4	47	-8	relation	5	47	-6	relation,
1	57	1	time)	3	46	-4	time;)
1	57	27	pictures	3	47	20	pictures,
1	58	1	them,	3	47	-10	them;
1	58	12	truth,	3	48	1	truth;
5	49	17	careful observation	Autograph	49	17	careful observations
3	49	-3	like her,	4	49	-3	like her;
1	60	-3	hearing, it	3	50	-11	hearing; it
4	50	7	Book	5	50	5	book
4	50	19	sound?	5	50	17	sound.
Autograph	50	7	mind,	Complete	50	7	mind;
Autograph	50	8	within,	Complete	50	8	within;
Autograph	50	14	subjects	Complete	50	14	objects,
Autograph	50	17	sound.	Complete	50	17	sound?
Autograph	50	19	perception,	Complete	50	19	perception:
3	50	-5	degree,	4	50	-3	degree;
1	61	12	at all, and	3	51	2	at all; and
4	51	4	pre-occupied	5	51	1	preoccupied
Autograph	51	5	light, &c.,	Complete	51	5	light, etc.,
3	51	6	them,	4	51	6	them;
3	51	10	remain, depends	4	51	10	remain depends,
4	51	16	no ear,	5	51	14	no ear
3	51	17	notes,	4	51	17	notes;
1	61	-2	never rewards	3	51	21	rewards not
3	52	8	truth,	4	52	8	truths;
4	52	-5	who, I remember, on	5	52	-7	who, on
5	52	9	Thus then	Autograph	52	9	Thus, then
5	52	19	sions and	Autograph	52	19	sions, and
4	53	9	versa	5	53	7	versâ
4	53	-11	lecture	5	53	-13	Lecture
4	54	-	Compare Part	5	54	-	Part
6	54	-	Sect.	7	54	-	Sec.
Autograph	54	-	nature	Complete	54	-	nature.
5	54	27	answer; but	Autograph	54	27	answer: but
4	54	-7	drawn!	5	54	-9	drawn.
Autograph	54	-6	describe	Complete	54	-6	describe,
5	54	-4	recognize [and throughout]	6	54	-4	recognise [and throughout]
4	54	-2	true: a	5	54	-4	true. A
1	64	-7	optics. The people of those ages only saw so much, and admired it, because they know no more." And	3	53	-4	optics". And
4	55	1	nose	5	54	-2	nose,
4	55	2	Nature	5	54	-1	nature
3	55	4	reason	4	55	4	reason;
4	55	14	smell -	5	55	12	smell,
4	55	-17	Every body	5	55	19	Everybody
4	55	-6	time -	5	55	-8	time, -
4	55	-4	many -	5	55	-6	many,
4	55	-2	accident -	5	55	-4	accident, -
6	55	6	recognise	7	55	6	recognize
6	55	-11	recognise	7	55	-11	recognize
6	55	-1	hypocrisy,	7	55	-1	hypocrisy
4	56	3	emotion -	5	56	1	emotion, -
4	56	4	river -	5	56	2	river, -
4	56	8	comprehend;	5	56	6	comprehend,
4	56	9	awaken,	5	56	7	awaken, -
4	56	11	Nature	5	56	9	nature
4	56	-7	like	5	56	-7	like,
4	56	-4	like	5	56	-4	like,
6	57	1	recognise	7	57	1	recognize
4	57	3	inquiry	5	57	3	inquiry,
4	57	16	unity	5	57	17	unity,
4	57	-13	ideas	5	57	-13	ideas,
Autograph	57	-9	useful,	Complete	57	-9	useful;
Complete	57	-7	than particular ones." Often [fn omitted]	Library	149	-6	than particular ones." ¹ Often [fn of 2 lines]
4	58	-	explanation	5	58	-	explanation.
4	58	5	antagonist -	5	58	5	antagonist, -
4	58	14	observation.	5	58	14	observation, -
5	58	16	indeed; a	Autograph	58	16	indeed - a
4	58	18	exclaimed -	5	58	18	exclaimed, -
5	58	-10	subject , and … the predicate .	6	58	-10	subject, and … the predicate.
6	58	-10	predicate	7	58	-10	predicate
4	59	13	silk or worsted or flax,	5	59	14	silk, or worsted, or flax,
4	59	16	unity	5	59	17	unity,
4	59	-13	ideas	5	59	-13	ideas,
4	59	-5	so called	5	59	-5	so-called
4	59	-1	so called	5	59	-1	so-called
1	68	4	painter, and	3	56	-2	painter, -the
1	71	-8	drapery, the	3	59	15	drapery; the
1	72	-6	since, though	3	60	11	since, though
4	60	3	generality	5	60	3	generality,
4	60	4	then,	5	60	4	then
4	60	5	characteristic,	5	60	5	characteristic;
4	60	7	another: thus	5	60	7	another. Thus
4	60	15	species,	5	60	15	species
4	60	18	long-nosed	5	60	18	long-nosed,
5	60	16	individuality and	Autograph	60	16	individuality, and
Autograph	60	16	non-elasticity, &c.),	Complete	60	16	non-elasticity, etc.),
3	60	20	animals,	4	60	20	animals;
3	60	25	Shakspeare [sp]	4	60	25	Shakspeare [sp]
4	60	-12	truths	5	60	-12	truths,
4	60	-11	general,	5	60	-11	general
4	61	3	interest,	5	61	3	interest
4	61	8	entertainment,	5	61	8	entertainment
4	61	-16	truths,	5	61	-16	truths
4	61	-13	writers	5	61	-13	writers,
4	61	-11	sculptor	5	61	-11	sculptor,
4	61	-6	spoiled	5	61	-6	spoiled,
1	74	-9	off), but	3	61	-6	off); but
1	74	-6	the Daniel	3	61	-4	Sistine Daniel
1	75	2	general,	3	62	4	general;
3	63	13	5.),they	4	63	13	5);they
4	63	13	purpose,	5	63	13	purpose
5	63	13	Chap.	6	63	13	Chap
Autograph	63	13	Chap.V.);	Complete	63	13	Chap.VI.);
6	63	-12	Chap V.	7	63	-12	Chap.V.
6	63	-10	exclusively	7	63	-10	exclusively,
1	77	4	curves,	3	63	-2	curves;
1	77	-9	system,	3	64	19	system;
4	64	11	circumstances	5	64	11	circumstances,
4	64	-15	parrot-painter	5	64	-15	parrot painter,
4	64	-13	repetition	5	64	-13	repetition,
Autograph	64	-	blameable.	Complete	64	-	blamable.
3	64	-5	instance,	4	64	-5	instance
4	64	-5	instance	5	64	-5	instance,
1	78	12	powers,	3	64	-3	powers;
Autograph	66	-	characteristic	Complete	66	-	characteristic;
4	66	3	bodies,	5	66	3	bodies
4	66	6	Book	5	66	6	book
Autograph	66	6	book ii. chap.8.,	Complete	66	6	book ii. chap.8,
Autograph	66	8	those that are	Complete	66	8	those "that" are
Autograph	66	9	or not."	Complete	66	9	or no."
Autograph	66	14	before: these last being usually called powers."	Complete	66	14	before:" these last being "usually called powers."
6	66	-6	sensations,	7	66	-6	sensations.
4	66	-1	Book	5	66	-1	book
6	66	-1	chap. 21	7	66	-1	chap. 21,
4	67	11	can it do.	5	67	11	it can do.
4	67	-13	dahlia; but let one curve of the petals – one groove of the stamen be wanting, and the flower ceases to be the same. Let	5	67	-13	dahlia; but not so if the same arbitrary changes could be effected in its form. Let
Complete	68	24	chap. xxxii	Library	160	-6	chap. 32
4	68	-15	Book	5	68	-15	book
1	78	22	research,	3	65	7	research;
1	78	-7	illustrated,	3	65	-7	illustrated;
1	79	-3	qualities,	3	66	-8	qualities
1	80	-7	is independent	3	67	21	are independent
1	80	-5	crimson	3	67	23	crimson;
1	80	-30	blue with soap-suds,	3	67	24	blue,
1	81	17	is a totally different thing from	3	68	3	is different from
1	82	12	they do,	3	68	-8	they do;
1	82	23	chiaroscuro,	3	69	2	chiaroscuro;
3	69	6	eye,	4	69	6	eye;
4	69	19	sky	5	69	19	sky,
3	69	22	tint is	4	69	22	tint are
1	83	10	shadow,	3	69	23	shadow;
Autograph	69	-10	find that,	Complete	69	-10	find that
1	83	15	at first,	3	69	-13	at first;
4	70	1	form;	5	70	2	form:
5	70	2	with form:	Autograph	70	2	with form;
6	70	3	present;	7	70	3	present:
5	70	3	present; we	Autograph	70	3	present: we
1	83	9	is mean and feeble	3	70	1	feeble
1	83	6	present,	3	70	2	present;
4	71	-	truths	5	71	-	t uths [typo]
3	71	2	historical,	4	71	2	historical;
4	71	3	most	5	71	3	must [typo]
4	71	-7	more,	5	71	-7	more
6	71	7	leaf	7	71	7	leaf,
1	84	-3	decomposition,	3	71	-5	decomposition;
1	85	2	of all,	3	71	-2	of all;
5	72	1	these, as truths	Autograph	72	1	these, are truths
Autograph	72	1	these, are truths,	Complete	72	1	these as truths,
5	72	4	powers	6	72	4	powers;
5	72	4	highest powers	Autograph	72	4	highest powers;
4	72	6	powers;	5	72	4	powers
Autograph	72	-13	(Compare Sect. II Chap.V.)	Complete	72	-13	(Compare Part I. Sect.I. Chap.V.)
4	72	-8	projection	5	72	-8	projection,
4	72	-5	exalt, nor please,	5	72	-5	exalt; nor can it please,
4	73	4	classes;	5	73	4	classes:
4	73	6	aethereal	5	73	6	ethereal
Autograph	73	-6	,&c.,	Complete	73	-6	,etc.,
6	73	-3	says	7	73	-3	says,
4	74	7	nature,	5	74	5	nature
4	74	8	strange	5	74	6	strange,
Complete	74	25	aerial	Library	167	1	aërial
4	74	-11	boughs:	5	74	-13	boughs;
4	74	-7	common-place	5	74	-9	commonplace
4	74	-2	eye; - they	5	74	-3	eye. They
4	75	1	all, who,	5	74	-2	all who,
4	75	2	art. And	5	74	-1	art; and
4	75	6	admissable	5	75	4	admissable,
4	75	7	There is of course	5	75	6	There is, of course,
4	75	20	nature	5	75	19	nature,
4	75	-10	is	5	75	-11	is,
1	85	11	powers,	3	72	6	powers;
1	85	19	others,	3	72	12	others;
1	85	-4	power,	3	72	-4	power;
1	85	-3	characterises	3	72	-4	characterizes
1	85	6	classes,	3	73	4	classes;
1	86	9	obtained,	3	73	7	obtained;
1	87	11	its ends,	3	74	6	its ends;
1	87	13	of art. "We have no eye for colour - we perceive no intention in composition - we do not know anything about form - we cannot estimate excellence - we do not care for beauty, but - we know whether it deceives." It is a strange thing that	3	74	8	of art. It is strange that
1	88	5	aërial	3	74	10	aerial
1	88	10	imitate,	3	74	-6	imitate;
1	88	23	admissible,	3	75	6	admissible
1	89	1	but then he has not the slightest idea of the meaning of the word "beautiful"." Gaspar	3	75	17	but he has no sense of beauty. Gaspar
1	89	14	spectator, and chiefly of forcing upon his feelings those delicate and refined truths of specific form, which are just what the careless eye can least detect or enjoy, because they are intended by the Deity to be constant objects of our investigation, that they may be the constant sources of our pleasure. And there	3	75	-10	spectator. And there
1	89	-9	present,	3	75	-2	present;
1	90	16	of it, and a Dudley or Halifax-like volume of manufactory smoke	3	76	20	of it, and a volume of manufactory smoke
1	90	23	a trunk.[major revision here, to page 98 of 1 , compare pages 76-137 of 3 ]… I shall first	3	76	25	a trunk [major revision here, to page 137, compare pages 90-98 of 1 ]] … I shall first
4	76	1	deep-laid	5	75	-2	deep-seated
4	76	6	broad,	5	76	4	broad
4	76	9	paltry,	5	76	7	paltry
4	76	-10	Daguerrotype or Calotype	5	76	-13	daguerrotye or calotype [typo]
4	76	-9	Love: There	5	76	-12	Love. There
6	76	3	breakers	7	76	4	breakers,
6	76	9	flower-pots	7	76	9	flower pots
3	76	-1	betrayed: Grand [sic]	4	76	-1	betrayed: Grand [sic]
4	76	-1	betrayed: Grand	5	76	-6	betrayed. Grand
4	77	1	motives [fn omitted in 4 ]	5	76	-3	motives ¹ . [fn added: I suppose this word is now generally received, with respect to both painting and music, as meaning the leading idea of a composition, whether wrought out or not.]
4	77	2	view nor	5	77	1	view or
3	77	9	symmetry	4	77	9	Symmetry
4	77	-13	end;	5	77	-15	end:
4	77	-4	figures	5	77	-5	figures,
Complete	77	-2	position, and	Library	177	-13	position, and,
4	78	16	two early [typo]	5	78	14	too early
4	78	19	ministering to,	5	78	17	ministering to
3	78	-9	forest	4	78	-9	forest,
3	78	-6	inquietness	4	78	-6	unquietness
4	78	-6	fulness	5	78	-8	fulness,
4	78	-1	things:	5	78	-3	things;
3	79	2	arose	4	79	2	arose,
4	79	5	co temporary [typo]	5	79	3	contemporary
3	79	6	in subsequent schools	4	79	6	or subsequent schools
4	79	13	is	5	79	11	is,
4	79	14	power;	5	79	12	power,
3	79	15	truth, … unknown,	4	79	15	truth; … unknown;
4	79	17	heaven pointing	5	79	15	heaven-pointing
3	79	18	This … art	4	79	18	This, … art,
4	79	20	his	5	79	17	His
3	79	fn1	Paradise	4	79	fn1	Paradise,
4	80	8	worthless; - perilous -	5	80	6	worthless - perilous -
4	80	11	cowardice; (the fear of doing right has far more influence on art than is commonly thought) that	5	80	9	cowardice. The fear of doing right has far more influence on art than is commonly thought. That
4	80	14	cowardly. Of	5	80	13	cowardly; of
3	80	24	narrow	4	80	24	narrow,
3	81	1	blossom	4	81	1	blossom,
4	81	4	oxalis acetosella	5	81	2	Oxalis Acetosella
3	81	16	result	4	81	16	result;
4	81	-15	vice:	5	81	-17	vice:
4	81	-14	weakens	5	81	-16	weaken
4	81	-13	received:	5	81	-15	received;
4	81	-11	listeners	5	81	-13	listeners,
4	81	fn-2	Crucifixion, had I imagine, a view also to its chemical property.	5	81	fn-6	Crucifixion, was perhaps thinking of its peculiar power of quenching thirst. "I rather imagine that his thoughts, if he had any thought beyond the mystic form of the leaf, were with its Italian name ‘Alleluia,’ as if the very flowers around the cross were giving glory to God." ( Note by the Printer .) I was not aware of this Italian name: In the valleys of the Dauphiné it is called "Pain du Bon Dieu," and indeed it whitens the grass and rocks of the hill crests like manna.
6	81	-1	hill crests	7	81	-9	hill-crests
6	82	3	dulness,	7	82	3	dulness.
Complete	82	9	(Compare Vol II. page 77.)	Library	177	7	(Compare Vol II. sec.i. ch. x. §4n.) ¹ [fn: 'This reference was wrongly given in all previous eds.']
5	82	-12	well-balanced	6	82	-12	well balanced
6	82	-12	well balanced	7	82	-12	well-balanced
3	83	9	knows it	4	83	9	knows it,
6	84	3	207,	7	84	2	207.
3	84	12	Venice,	4	84	12	Venice;
5	84	12	Venice;	6	84	12	Venice:
6	84	12	Venice:	7	84	12	Venice;
4	84	20	colour,	5	84	21	colour
4	84	-14	and finer, as far as it goes	5	84	-13	and, as far as it goes, finer
Complete	84	21	Giorgione's, … colour	Library	180	14	Giorgione's … colour, [see note]
Complete	84	24	San Grisostomo	Library	180	18	San Crisostomo
3	84	-11	tone	4	84	-11	tone,
4	84	-8	figures	5	84	-8	figures,
4	84	-7	cirri which,	5	84	-7	cirri, which,
4	84	-5	farther	5	84	-5	further
4	84	-3	hue	5	84	-3	hue,
3	84	-2	its light and	4	84	-2	its irregular and
4	84	-2	exemplary; the	5	84	-2	exemplary. The
4	85	2	207	5	85	2	207.
4	85	16	light;	5	85	16	light:
5	85	2	207.	Autograph	85	3	207,
5	85	8	greater I think than	Autograph	85	9	greater, I think, than
Autograph	85	3	page 207,	Complete	85	3	page 209
Complete	85	3	alluded to at page 209 of the second	Library	187	11	alluded to in sec. ii. ch. v. §8 of the second
3	85	19	but he is usually too impatient to carry his thoughts as far out, or to realise with	4	85	19	but his impatience usually prevents him from carrying out his thoughts as clearly, or realizing with
4	85	-8	ivy	5	85	-8	ivy,
4	85	-7	lizard	5	85	-7	lizard,
5	85	27	which, if	Autograph	85	28	which if
3	85	-3	truth telling	4	85	-3	truth-telling
4	85	-2	form,	5	85	-2	form;
3	85	-1	masters,	4	85	-1	masters;
5	86	3	aerial [and several more times to p 107]	6	86	4	aërial [and several more times to p 106]
6	86	4	aërial	7	86	3	aerial
Complete	86	-	[gloss in roman passim ]	Library	183	-	[gloss in italics passim ]
3	86	10	subject	4	86	10	subjects
4	86	10	I have given	5	86	10	I shall give
4	86	14	sympathies. [fn omitted in 4 ]	5	86	14	sympathies ¹ . [Fn added: Vide Stones of Venice, chap.i ~ xiv. And Appendix 11.]
4	86	20	carelessly;	5	86	20	carelessly
5	86	20	and carelessly	Autograph	86	22	and carelessly,
3	86	27	Ambrian	4	86	27	Umbrian
4	86	-9	renaissance	5	86	-10	Renaissance
3	86	-6	ornamental,	4	86	-6	ornamental;
3	86	-4	incident,	4	86	-4	incident;
Autograph	86	fn1	Venice, chap.i.	Complete	86	fn1	Venice, Vol I.,chap.i
Complete	86	fn1	Vide Stones of Venice, Vol. I., chap. i. §XIV.	Library	182	fn1	Vide Stones of Venice , vol. i. chap. i. §14, [ditto 121/229]
Complete	87	9	qualified,	Library	184	1	qualified
4	87	16	Bologna	5	87	16	Bologna,
Complete	87	19	kind,	Library	184	10	kind
4	87	fn8	roaring,	5	87	fn8	roaring
4	87	fn11	it)	5	87	fn11	it),
5	87	fn-5	passion and forgiven	6	87	fn-5	passion, and forgiven
4	88	15	anything	5	88	15	any thing
5	88	34	Alps, presents	Autograph	88	35	Alps presents
4	88	-4	phases	5	88	-3	phases,
6	88	-3	Alps,	7	88	-4	Alps
4	89	8	(and of which the sickness without the power is eminently characteristic of the modern Germans);	5	89	9	and of which the sickness, without the power, is eminently characteristic of the modern Germans;
3	89	18	of nature;	4	89	18	of nature:
4	89	19	knowledge	5	89	20	knowledge,
3	89	23	complete unconventional	4	89	23	complete, unconventional,
4	89	-13	always	5	89	-12	always,
4	89	-12	goes	5	89	-11	goes,
6	89	-19	nature:	7	89	-19	nature;
3	89	-9	But for	4	89	-9	Were it not for
4	89	-8	sheep	5	89	-7	sheep,
3	89	-4	Titian,	4	89	-4	Titian;
4	89	-1	it, - [fn omitted in 4 ]	5	90	1	it ¹ , [fn of three lines of Wordsworth]
6	90	1	truth, in it ¹ and	7	90	1	truth in it ¹ ,and
3	90	11	sun. § These	4	90	11	sun; and in one in the Louvre, the sunbeams come from one part of the sky, and the sun appears in another. § These
3	90	-11	another,	4	90	-9	another;
3	90	-7	a grand gallery	4	90	-5	one gallery
3	90	-5	school	4	90	-3	school,
4	91	5	Flora	5	91	5	flora,
4	91	6	buildings -	5	91	6	buildings,
4	91	7	spirit,	5	91	7	spirit
4	91	8	mind,	5	91	8	mind, -
4	91	14	the one	5	91	14	the one,
5	91	14	one, or the fire	6	91	14	one or the fire
6	91	2	but,	7	91	1	but
5	91	1	picture; but,	Autograph	91	3	picture; but
Complete	91	11	aerial	Library	190	-7	aërial
3	91	14	Gainsborough, … his	4	91	16	Gainsborough; … his,
4	91	21	gaiety, there	5	91	21	gaiety. There
4	91	-9	green	5	91	-9	green,
4	91	-5	(Llanberis,)	5	91	-5	(Llanberis)
6	91	-4	aërial	7	91	-4	aerial
Complete	91	-2	aerial	Library	190	15	aërial
6	92	9	aërial	7	92	9	aerial
4	92	-7	refinement,	5	92	-7	refinement:
6	93	-	landscapes.	7	93	-	landscape.
5	93	1	restless, and	Autograph	93	3	restless and
3	93	12	pictures:	4	93	14	pictures;
3	93	16	marine	4	93	18	Marine
3	93	19	art	4	93	21	art,
4	93	23	Masaccio’s:	5	93	23	Masaccio’s;
4	93	-9	has been	5	93	-9	has not been
4	93	-4	middle-aged	5	93	-4	middle-age
4	93	-1	child-like	5	93	-1	childlike
4	94	7	it,	5	94	7	it;
4	94	9	works which,	5	94	9	works, which,
3	94	16	expressed,	4	94	18	expressed;
4	95	6	particufar [typo]	5	95	6	particular
4	95	21	complete;	5	95	21	complete:
3	95	-10	herbage. The … weeds; … sand;	4	95	-8	herbage, the … weeds, … sand,
Autograph	96	9	preface; another,	Complete	96	8	preface (p.xl.§ 40n); another,
Complete	96	9	(p.xl. §40 n )	Library	195	19	(P. 46 §40 n )
3	96	10	been,	4	96	12	been;
4	97	5	distance,	5	97	6	distance
5	97	2	no wise	Autograph	97	3	nowise
3	97	7	flower,	4	97	9	flower;
4	97	14	pure, yet that any of them are expressive of light is only to be felt where	5	97	15	pure, they yet become expressive of light only where
3	97	15	colourists in proportion as they are so. Of	4	97	17	colourists. Of
4	97	19	over-charged	5	97	20	overcharged
5	97	37	early masters,	Autograph	97	37	early masters.
Autograph	97	-11	nature:	Complete	97	-11	nature;
3	97	-12	labour,	4	97	-10	labour;
4	97	-10	labour; and	5	97	-8	labour. And
4	97	-8	them. Either	5	97	-7	them: either
4	97	-7	foreground,	5	97	-6	foreground
Complete	97	-6	foreground	Library	197	22	foreground,
3	97	-7	well being	4	97	-5	wellbeing
3	97	-5	know,	4	97	-3	know;
4	97	-2	masters. Neither	5	97	-1	masters, Neither [typo]
4	98	1	inessential	5	98	2	unessential
3	98	2	thought,	4	98	4	thought;
3	98	13	love,	4	98	15	love;
4	98	15	love;	5	98	17	love:
4	98	17	true: yet	5	98	19	true. Yet
4	98	18	Fielding; there	5	98	20	Fielding. There
3	98	18	and … inventions	4	98	20	and, … inventions,
4	98	-10	blue: … form	5	98	-11	blue; … form,
6	98	-3	18431.	7	98	-3	1843.1
4	99	14	works, sublime as many of them have unquestionably been, testify	5	99	13	works testify
3	98	fn6	body	4	99	fn1	body,
3	99	fn2	rightly, and,	4	99	fn4	rightly, and
3	99	fn5	taste,	4	99	fn7	taste;
3	99	fn9	exhibition	4	99	fn11	exhibition,
Complete	99	fn-8	exhibition	Library	199	fn9	Exhibition
3	99	fn-5	aërial	4	99	fn-5	aerial
6	99	fn-5	aërial	7	99	fn -5	aerial
Complete	99	fn-5	aerial	Library	199	fn-5	aërial
6	100	-	Engraving.	7	100	-	engraving.
3	100	3	degree	4	100	5	degree,
4	100	15	nor obtained	5	100	17	or obtained
4	100	16	texture; a large drawing in the possession of B.G.Windus, Esq., of Tottenham, is of great value as an example of his manner at the period; a manner not only careful, but earnest and free from any kind of affectation. Partly from	5	100	18	texture; but partly from
5	100	17	realized	6	100	17	realised
3	100	16	earnest,	4	100	18	earnest
4	100	21	over-strained	5	100	20	overstrained
5	100	22	complete;	6	100	22	complete:
6	100	-16	complete:	7	100	-16	complete;
6	100	-8	aërial	7	100	-8	aerial
Complete	100	-8	aerial	Library	201	16	aërial
3	100	-9	aërial	4	100	-7	aerial
3	100	-7	sunrise	4	100	-5	Sunrise
4	100	-2	So in	5	100	-3	So also in
6	101	-	deficient.	7	101	-	deficient
3	100	-1	copse,	4	101	1	copse;
3	101	11	architecture,	4	101	13	architecture;
5	101	13	architecture;	6	101	13	architecture,
6	101	13	architecture,	7	101	13	architecture;
3	101	13	Novella;	4	101	15	Novella,
4	101	21	renaissance	5	101	21	Renaissance
3	101	23	position,	4	101	25	position;
4	101	-13	grey	5	101	-12	grey,
4	101	-11	grandeur (note…stairs…eye); and	5	101	-11	grandeur; note…stairs…eye. And
3	101	-10	opposite	4	101	-8	opposite;
4	101	-4	figure	5	101	-4	figure,
Autograph	101	-1	accessories	Complete	101	-1	accessaries
4	102	11	dead; hence	5	102	12	dead. Hence
4	102	12	old,	5	102	13	old;
3	102	-12	exchanged,	4	102	-10	exchanged;
4	102	-4	limestone	5	102	-3	limestone,
4	103	10	second part,	5	103	11	second section of this part,
3	103	9	improved … period … declines, … being … countries	4	103	11	improved, … period, … declines; … being, ….countries,
5	103	20	tones of age;	6	103	20	tones of age:
5	103	22	kind:	6	102	22	kind;
6	103	-18	age:	7	103	-18	age;
6	103	-16	kind;	7	103	-16	kind:
Autograph	103	13	age,	Complete	103	13	age;
Autograph	103	-17	but that	Complete	103	-17	but hat
Complete	103	21	but hat they [sic]	Library	205	7	but that they
Complete	103	24	seen;	Library	205	11	seen:
Complete	103	26	ornament,	Library	205	13	ornament
3	103	-2	away; … wind,	4	104	1	away, … wind;
5	104	1	beneath;	6	104	1	beneath:
6	104	1	beneath:	7	104	1	beneath;
4	104	2	wind;	5	104	4	wind,
4	104	3	proportions,	5	104	5	proportions;
3	104	2	weed grown	4	104	4	weed-grown
Complete	104	5	sea wind	Library	206	5	sea-wind
3	104	5	circumstance,	4	104	7	circumstance;
4	104	9	desolation,	5	104	11	desolation
4	104	17	beauty: this	5	104	19	beauty. This
6	104	17	draughtsman,	7	104	17	draughtsman
3	104	16	picturesqueness,	4	104	18	picturesqueness;
4	104	19	building; nay,	5	104	21	building. Nay
4	104	20	exhibited,	5	104	22	exhibited;
4	104	21	dilapidation;	5	104	23	dilapidation:
4	104	-11	architects	5	104	-9	architects,
4	104	-2	explained; of	5	105	1	explained. Of
4	105	1	times;	5	105	3	times:
3	104	-1	reason,	4	105	2	reason;
4	105	5	short hand	5	105	7	short-hand
4	105	11	short hand	5	105	7	short-hand
Autograph	105	7	short-hand	Complete	105	7	shorthand
Autograph	105	13	short-hand	Complete	105	13	shorthand
3	105	14	mist,	4	105	16	mist;
Complete	105	16	visible;	Library	208	10	visible:
4	105	-15	light,	5	105	-13	light
4	105	fn-2	diagrams:	5	105	fn-2	diagrams;
3	106	1	Venice,	4	106	3	Venice;
4	106	-4	Daguerrotype	5	106	-2	daguerrotype
6	106	-13	aërial	7	106	-13	aerial
6	106	-5	aërial	7	106	-5	aerial
Complete	106	-14	wrongly so,	Library	209	-7	wrongly so
Complete	106	-13	aerial	Library	209	-6	aërial
Complete	106	-5	aerial	Library	210	4	aërial
3	106	-4	accomplish it,	4	106	-2	accomplish it;
3	106	-1	Tintoret,	4	107	1	Tintoret;
4	107	17	case,	5	107	19	case;
3	107	24	While in the very picture of Tintoret in which … carpet, he has … Mark’s,	4	107	26	While Tintoret, in the very picture in which … carpet has … Mark’s;
4	107	-11	renaissance	5	107	-8	Renaissance
Complete	107	-12	grey green	Library	211	-7	grey-green
3	108	2	architecture,	4	108	3	architecture;
4	108	3	which	5	108	6	which,
4	108	6	remains; two	5	108	9	remains. Two
3	108	9	lately,	4	108	10	lately;
4	108	13	tablet	5	108	16	tablet,
4	108	17	more,	5	108	20	more
6	108	13	lately;	7	108	13	lately:
5	108	13	lately; the	Autograph	108	13	lately: the
3	108	18	place	4	108	19	Place
4	108	-16	drawing-room	5	109	2	drawingroom
4	108	-1	replace	5	109	5	replace,
4	108	fn1	CAMPO. DI.	5	108	fn1	CAMPO DI
4	108	fn3	NOI.	5	108	fn3	NOI
4	108	fn6	PICCINI.	5	108	fn6	PICCINI
4	109	1	towers	5	109	6	towers,
5	109	2	drawingroom	Autograph	109	2	drawing-room
3	109	20	near	4	109	20	near,
4	109	-15	Daguerrotype;	5	109	-10	daguerrotype:
4	109	-11	transparency;	5	110	1	transparency:
4	109	-9	record, whatsoever,	5	110	3	record whatsoever
6	109	fn-4	Bellini,	7	109	fn-4	Bellini.
4	110	2	Casa Bianca Capello,	5	110	7	Casa Trevisan,
4	110	7	Daguerreotypeism	5	110	12	daguerreotypeism
4	110	8	it:	5	110	13	it;
4	110	11	Daguerreotypes	5	110	12	daguerreotypes
4	110	12	are given	5	110	17	is given
3	110	21	affecting; … shade,	4	110	21	affecting; … shade;
4	110	-17	affecting;	5	110	-12	affecting:
4	110	-16	perhaps’ [typo]	5	110	-11	perhaps,
3	110	-8	purpose,	4	110	-8	purpose;
3	110	-7	domesticity,	4	110	-7	domesticity;
Complete	110	-6	Flemings	Library	216	12	Flemings,
4	111	3	expression	5	111	7	expression,
3	111	4	art, … influence	4	111	4	art; … influence,
4	111	10	many; the	5	111	14	many. The
4	111	13	pre-eminently	5	111	18	preeminently
3	111	17	rashly,	4	111	17	rashly;
4	111	17	I have Mackenzie in my eye and many	5	111	22	I remember Mackenzie, and Haghe, and many
4	111	19	Architectural	5	111	24	architectural
4	111	21	right	5	111	-12	right,
4	111	-14	touched	5	111	-9	approached
5	111	18	preeminently	Autograph	111	18	pre-eminently
5	111	36	powers: but	Autograph	111	36	powers; but
Complete	111	22	Mackenzie,	Library	217	18	Mackenzie
3	111	-10	value,	4	111	-10	value;
4	111	-7	powers;	5	111	-2	powers:
4	111	-6	Nuremberg,	5	111	-1	Nuremberg
4	111	-3	active vital being	5	112	3	active and vital being
5	111	-2	development	6	111	-2	developement
Autograph	112	1	one together	Complete	112	1	one, together
3	112	3	which is	4	112	3	which is
4	112	3	much is	5	112	8	much is
4	112	9	function as a wall of Ghirlandajo's or Leonardo's	5	112	14	function , as the masonries of Ghirlandajo or Leonardo
3	112	10	theirs,	4	112	10	theirs;
3	112	12	exception, that	4	112	12	exception-that
4	112	12	exception —	5	112	17	exception, —
4	112	15	not only, however, by … touch nor perception … character	5	112	20	not, however, only by … touch, nor by his perception … character,
3	112	22	crowded, … else,	4	112	22	crowded; … else;
4	112	22	markets are the	5	112	-11	markets the
4	112	-8	unequal) … pure	5	112	-3	unequal), … pure,
3	112	-3	grey,	4	112	-3	grey;
4	113	2	obtained	5	113	7	obtained,
4	113	6	over mannerism	5	113	11	over-mannerism
4	113	12	Hotel	5	113	17	Hôtel
4	113	11	immitation.	5	113	16	immitation. ¹ [ fn added : Compare Stones of Venice, vol.i.chap.xxiii. §v.]
5	113	8	of execution,	Autograph	113	9	of execution
3	113	13	degree	4	113	13	degree,
3	113	17	Piazzetta	4	113	17	Piazza
4	113	20	we have	5	113	25	we have,
4	113	23	figures	5	113	28	figures
4	113	23	windows ... cities, ... buttresses	5	113	28	windows, ... cities; ... buttresses,
3	113	25	architecture of the middle ages	4	113	25	Architecture of the Middle Ages
5	113	fn1	… chap.xxiii.§v.	6	113	fn1	… chap.xxiii.§5.
6	113	fn1	§5.	7	113	fn1	§v.
4	114	1	Antiquarian	5	114	8	antiquarian
4	114	3	fancy,	5	114	10	fancy;
4	114	17	late, ... Annual ... were ... part ... felt-(though	5	114	-14	late ... Annual, ... were, ... part, ... felt,-though
Autograph	114	15	works so	Complete	114	15	works, so
3	114	18	annual	4	114	18	Annual
4	114	-16	water, ... engraving; ...	5	114	-9	water; ... engraving,
4	114	-14	twilight,	5	114	-7	twilight
4	114	-12	painted)-	5	114	-5	painted;-
4	114	-8	attain	5	114	-1	attain,
4	114	-3	imagination, ... machicolations	5	115	5	imagination ... machicolations,
4	115	6	in them,	5	115	13	in them
6	115	-	view	7	115	-	view,
5	115	4	exaggeration, and	Autograph	115	4	exaggeration and
Autograph	115	4	exaggeration and	Complete	115	4	exaggeration, and
Autograph	115	-	evil, in an	Complete	115	-	evil, from an
3	115	9	hammer, … foundation;	4	115	9	hammer: … foundation:
4	115	9	hammer:	5	115	16	hammer;
4	115	12	ill digested	5	115	19	ill-digested
4	115	20	truth;	5	115	-11	truth:
3	115	22	invention,	4	115	22	invention;
Complete	115	-7	Veronese, who…painted it,	Library	222	-10	Veronese (who…painted it), [brackets inserted from Ruskin's corrected copy]
3	116	6	Robots,	4	116	6	Robots;
4	116	14	desirable	5	116	19	desirable,
3	116	19	Lines,	4	116	19	lines
4	116	19	types:	5	116	24	types;
4	117	6	completion:	5	117	13	completion;
4	117	9	greys,	5	117	16	greys
3	117	11	sketches,	4	117	11	sketches;
4	117	16	(especially)	5	117	-15	especially
4	117	25	invaluable-blotted-five-minutes	5	117	-6	invaluable blotted five-minutes
4	117	-6	sandstone-	5	118	2	sandstone:
5	117	14	shadows, and	6	117	14	shadows and
Autograph	117	-6	five-minutes’ works	Complete	117	-6	five-minutes, works
3	117	-4	colour,	4	117	-4	colour;
4	117	-3	scymitars	5	118	5	scimitars
4	118	8	Chapel	5	118	15	Chapel,
3	118	10	another ... Institution	4	118	10	another, ... Institution,
4	118	-15	paint ... picture	5	118	-8	paint, ... picture,
4	118	-3	bear	5	119	5	bear,
4	118	-1	with ... for	5	119	7	with, ... for,
4	119	3	over prosaic	5	119	10	over-prosaic
4	119	5	for in	5	119	12	for, in
3	119	16	1844,	4	119	16	1844;
3	119	-5	castle	4	119	-5	Castle
Autograph	120	-	I.M.W. Turner. [typo]	Complete	120	-	J.M.W. Turner.
3	120	4	boat,	4	120	4	boat;
4	120	5	sunshine	5	120	12	sunshine,
4	120	8	ship	5	120	15	ship,
4	120	12	by-the-by	5	120	19	by the by
4	120	14	dirt	5	120	21	Dirt
4	120	-6	rhapsody.	5	121	3	rhapsody. ¹ [ fn added : Vide Stones of Venice, vol.i. Appendix II.]
Autograph	120	17	subject,	Complete	120	17	subject;
Autograph	120	19	by-the-by,	Complete	120	19	by-the-bye,
3	121	12	are with ... whatsoever	4	121	12	are, with ... whatsoever,
4	121	13	land,	5	121	21	land;
4	121	16	paint well	5	121	24	paint,well,
3	121	-8	blessing,	4	121	-8	blessing;
4	121	-8	blessing;	5	122	3	blessing,
3	121	-6	classification	4	121	-6	classicalism
4	122	1	Robbia	5	122	11	Robbia,
3	122	4	nationality	4	122	4	nationality,
4	122	12	failure;	5	122	-16	failure.
3	122	15	Italy,	4	122	15	Italy;
4	122	-17	land; not	5	122	-7	land. Not
4	122	-16	men; all..patent reviving	5	122	-5	men. All ... patent-reviving
4	122	-14	island	5	122	-2	island,
4	122	-4	Cornwall,	5	123	8	Cornwall
4	123	19	Claude,	5	123	-8	Claude
3	123	28	place,	4	123	28	place;
4	123	-7	ill treated ... them, ... proofs	5	124	5	ill-treated ... them ... proofs,
4	124	4	extent	5	124	15	extent,
Complete	124	8	district;	Library	233	-11	district,
5	124	-12	Yorkshire drawings	6	124	-12	Yorkshire-drawings
4	124	-9	Italy,	5	125	4	Italy
4	124	-8	examples. The most perfect gem in execution is a little bit on the Rhine, with reeds in the foreground, in the possession of B. G. Windus, Esq., of Tottenham; but the Yorkshire drawings seem to be on the whole the most noble representatives of his art at this period	5	125	4	examples, as well as some of the drawings of Swiss scenery in the possession of F.H.Fawkes, Esq., of Farnley
4	125	10	but among	5	125	18	but some of the Swiss drawings above named were made in 1804 or 1806; and among
4	125	20	be-many of them- ... every day ... Composition with the White Horse	5	125	-9	be, many of them, ... every-day ... compositions with the white horse
Autograph	125	3	Hakewell’s	Complete	125	3	Hakewill’s
3	125	21	occurrence,	4	125	21	occurrence;
3	125	22	cocks and pigs	4	125	22	Cocks and Pigs
3	125	27	masses	4	125	27	masses,
4	125	-14	a watermill	5	125	-5	"a Watermill"
3	125	-7	Lowland Castle ... duck,	4	125	-7	lowland castle ... duck;q
Autograph	125	-5	"a/ Watermill:"	Complete	125	-5	"A/ Watermill:"
3	125	-4	and another Swiss village; and, further,	4	125	-4	and Thun; and, farther,
4	126	19	Olives; and, by the vine, we find him in the foreground of the Grenoble Alps laid utterly and incontrovertibly on his back	5	126	-9	olives; and, in the foreground of the Grenoble Alps, is, like many other great men, overthrown by the vine.
4	126	23	were) ... weakness	5	126	-5	were), ... weakness,
3	126	-10	received	4	126	-10	acquired
3	126	-4	England,	4	126	-4	England;
4	126	-3	Switzerland, ... ground	5	127	7	Switzerland ... ground
4	127	5	beautiful	5	127	14	beautiful,
5	127	5	France: partly	Autograph	127	5	France; partly
3	127	8	Picardy	4	127	8	Picardy,
4	127	14	valuable ... poplars	5	127	-15	valuable, ... poplars,
4	127	18	sufficient	5	127	-11	sufficient,
4	127	-8	others. The Valley of Chamonix in the collection of Walter Fawkes, Esq., I have never seen; it has a high reputation; the Hannibal	5	128	2	others. Of the drawings above alluded to in the possession of F.H. Fawkes, Esq., I shall give account hereafter; they are not altogether successful, but the manner of their deficiency cannot be described in my present space. The Hannibal
4	127	-6	Alps ... state ... shower..gallery of a land fall	5	127	6	Alps, ... state, ... shower, ... gallery, of a Berg fall,
4	127	-3	The Snow ... inundation	5	128	9	"The snow ... inundation"
4	128	9	Hespire:	5	128	20	Hespire;
4	128	15	seriousness ... materials	5	128	-12	seriousness,..materials,
4	128	21	him-	5	128	-6	him;
Autograph	128	8	Berg fall,	Complete	128	8	Bergfall,
3	128	27	failure,	4	128	27	failure;
3	128	30	tenth plague	4	128	30	Tenth Plague
4	128	-14	cramped:	5	128	-3	cramped;
4	128	-10	brick kilns	5	129	2	brick-kilns
4	128	-9	ground bears brotherly resemblance to the burning	5	129	3	ground like the burning
4	128	-8	Plague ... gallery	5	129	4	Plague, ... gallery,
4	129	1	the one, or the healthiness	5	129	12	the one or the cheerfulness
3	129	3	Claude,	4	129	3	Claude;
4	129	16	class; in	5	129	-10	class. In
4	129	18	Leander; in 4th	5	129	-8	Leander: in 5th
4	129	20	northern	5	129	-6	Northern
5	129	19	ground, - let	Autograph	129	19	ground - let
3	129	23	ideality;	4	129	23	ideality:
5	129	-8	Leander:	6	129	-8	Leander;
6	129	-10	Leander;	7	129	-9	Leander:
5	129	28	Leander: but	Autograph	129	28	Leander; but
3	130	4	simplicity	4	130	4	simplicity,
4	130	11	material	5	130	17	material,
4	130	15	Florence ... Keepsake	5	130	23	Florence,..Keepsake,
4	130	-4	displayed	5	131	8	displayed,
4	130	-2	paintings ... drawings	5	131	10	paintings ... drawings
6	130	-11	conventional:	7	130	-11	conventional;
5	130	24	the Cascine	Autograph	130	24	the cascine
3	131	1	in light and shade	4	131	1	in chiaroscuro
4	131	7	unrivalled	5	131	18	unrivalled,
4	131	8	torrent. Two	5	131	20	torrent, a bird is about to seize it, while its companion, crimson-winged, flits idly on the surface of one of the pools of the stream, within half an inch of the surface of the water, thus telling us its extreme stillness. Two
3	131	11	other, and, I think,	4	131	11	other, and I think
4	131	11	the finest	5	131	-9	the finer
4	131	13	examples.	5	131	-7	examples. ¹ [fn added: The worst picture I ever saw of this period, "the Trossachs", has been for some time exhibited at Mr. Grundy’s in Regent Street; and it has been much praised by the public press, on the ground, I suppose that it exhibits so little of Turner’s power or manner as to be hardly recognisible for one of his works.
3	131	15	damaged,	4	131	15	damaged;
4	131	-13	transparency	5	132	6	transparency,
Complete	131	fn1	"The Trosachs",	Library	245	fn1	"The Trosachs" [ sic ],
6	132	13	school:	7	132	15	school;
5	132	15	school;	6	132	15	school:
4	133	10	kind, I ... ship; ... faults.	5	133	10	kind (I ... ship), ... faults;
4	133	14	are; but	5	133	-6	are: but
4	133	17	wrong ;	5	133	-3	wrong .
4	133	25	sacrifice;	5	134	6	sacrifice:
4	133	-2	before-hand	5	134	17	beforehand
4	134	9	Carthage, and the picture of this year in the British Institute; and	5	134	-7	Carthage; and
4	134	14	myself,	5	134	-2	myself
Complete	134	23	over care	Library	248	-7	over-care
4	134	fn6	Temeraire	5	135	fn11	Téméraire
4	134	fn13	manner	5	134	fn8	manner,
4	134	fn21	but it is bitterly to be regretted that ... be estimated.	5	135	fn6	but how are we enough to regret that ... be entirely estimated?
4	135	6	them. But his powers did not attain their highest results till towards the year 1840, about which period they did so suddenly, and with a vigour and concentration which rendered his pictures at that time almost incomparable with those which had preceded them. The drawings of Nemi, and Oberwesel in the possession of B.G. Windus, Esq., were among the first evidences of this sudden advance; only the foliage in both of these is inferior; and it is remarkable that in this phase of his art, Turner has drawn little foliage, and that little badly - the great characteristic of the period being power, beauty, and majesty of colour, and abandonment of all littleness and division of thought to a single impression. In the year 1842	5	138	6	them. In the year 1842
5	135	11	Murano, with	Autograph	135	11	Murano with
3	135	14	characteristic of it	4	135	14	characteristic of the period
3	135	15	and its abandonment	4	135	15	and abandonment
4	135	18	Switzerland; these, with some produced in the following years, all of Swiss subjects, I consider to be, on the whole, the most characteristic and perfect works he has ever produced. The Academy pictures were far inferior to them; but, among these, examples of the same power were not wanting, more especially in the smaller picture of Venice. The Sun	5	135	7	Switzerland, peculiarly fine in colour; and among the Academy pictures of that period, examples of the same power were not wanting, more especially in the smaller Venetian subjects. The Sun
3	135	21	but among these	4	135	21	but, among these,
3	135	23	Venice, going to sea;	4	135	23	Venice;
4	135	fn2	cannot	5	135	fn-7	cannot,
4	135	fn-1	are the picture cleaner and the mounter.	5	135	fn-1	are the sun, the picture cleaner, and the mounter.
4	135	24	Cemetery	5	135	-7	cemetery
4	135	-5	saw it (and it still remains little ignored), the most	5	136	2	saw it, the most
4	135	-1	still	5	136	5	still,
Complete	135	fn3	exhibition	Library	249	fn7	Exhibition
4	136	5	sky (not ... heavens), all	5	136	10	sky, not ... heavens; all
4	136	8	partially;..universally: he	5	136	13	partially,..universally. He
6	136	9	heavens:	7	136	12	heavens;
5	136	12	cloudy heavens;	6	136	9	cloudy heavens:
4	136	13	Vol.II	5	136	18	vol.ii
6	136	15	180,	7	136	18	180.
Autograph	136	17	page 180.	Complete	136	17	page 182,
Complete	136	17	Tintoret's, at page 182, vol.ii., are	Library	252	10	Tintoret's, in vol.ii. (sec.ii.ch.iii. §28 n. ), are
6	137	-4	"effect"	7	137	-4	‘effect’
Complete	137	-4	'effect'	Library	253	-4	"effect"
1	98	-3	vegetation. Architecture will be slightly noticed in the concluding section of the present part; more fully in following parts of the work.	3	137	-1	vegetation. [final sentence omitted in 3 ]
4	138	5	"tone" :-	5	138	5	Tone:
3	138	9	else. Secondly	4	138	9	else: secondly,
1	99	-5	cold,	3	138	-6	cold;
Autograph	139	-	aerial	Complete	139	-	aërial
5	139	5	talking nonsense	6	139	5	taking nonsense
4	139	12	"	5	139	10	"
4	139	12	space,	5	139	12	space
Autograph	139	13	&c.,	Complete	139	13	etc.,
4	139	23	finely-toned	5	139	21	finely toned
4	139	29	at a camera-obscura ... the image bore	5	139	27	at the image in a camera-obscura ... it bore
4	140	16	poor,	5	140	14	poor
4	140	21	themselves,..foreground,	5	140	19	themselves; ... foreground;
4	140	-5	(truth?)	5	140	-7	truth(?)
4	140	-4	noticeable-that ... hills-	5	140	-6	noticeable, that ... hills;
1	100	-7	key,	3	139	25	key;
1	100	-2	camera-obscuro	3	139	-9	camera-obscura
1	101	1	masters,	3	139	-7	masters;
1	102	15	noticeable, that … hills,	3	140	-4	noticeable-that … hills-
4	141	8	prodigals,	5	141	6	prodigals
4	141	16	sacrificed	5	141	14	sacrificed,
3	141	17	absence,	4	141	17	absence;
4	141	fn-1	Section	5	141	fn-1	Section,
Complete	141	fn-1	vide	Library	263	fn-1	vide
Complete	141	-9	half way	Library	263	5	half-way
Complete	141	-2	see	Library	263	13	see,
1	103	13	that, which … shade,	3	141	25	that which … shade;
1	103	-7	truth,	3	142	3	truth;
4	142	17	right hand pedestal, (for ... half way ... vertical).	5	142	15	right-hand pedestal; for ... half-way ... vertical.
Complete	142	17	half-way	Library	264	3	[ditto]
3	142	18	loose	4	142	18	lose
3	142	27	hills,	4	142	27	hills;
3	142	31	tone.	4	142	31	tone!
4	142	-7	No.260 in	5	142	-9	No. 260 [typo] in
6	142	-8	260,	7	142	-9	260.
Autograph	142	-9	No.260.	Complete	142	-9	No.260
3	142	-4	them,	4	142	-4	them;
4	142	-3	distance	5	142	-5	distance,
1	105	2	"Mercury and Argus"	3	143	1	Mercury and Argus
1	105	9	left,	3	143	6	left;
Autograph	143	-	[gloss aligned with para beginning "It was not…]	Complete	143	-	[gloss aligned with para beginning "Observe, I am not… ]
1	105	11	aerial…shown,	3	143	8	areial…shown;
3	143	8	aerial	4	143	8	aërial
1	105	18	nature,	3	143	14	nature;
1	105	25	aërial	3	143	20	aerial
3	143	20	aerial	4	143	20	aërial
4	143	-15	graduation	5	143	21	gradation
4	143	-10	drawing	5	143	-12	drawing,
1	106	6	not therefore,	3	143	-2	not, therefore,
4	144	2	"tone"	5	143	-1	Tone
Autograph	144	6	Chap.VI. of this section	Complete	144	6	Chap.V. of the next section
1	106	26	of these,	3	144	11	of these
1	106	19	noon. The Cowes, Devonport with the dockyards, Colchester, Oakhampton, Folkestone, Cologne, Kenilworth, Durham, and Dudley, might be instanced as cases of every effect of the most refined and precious tone, which we might fearlessly, if not triumphantly, compare with the very finest works of the old masters. And the	3	144	18	noon. And the [sentence omitted in 3 ]
1	106	-2	sky in last year's exhibition,	3	144	20	sky in 1842,
1	107	7	"Fall of Carthage,"	3	144	-12	Fall of Carthage
1	107	9	watercolour	3	144	-10	water-colour
1	107	12	"Slaver"	3	144	-8	Slaver
1	107	14	"Cicero's Villa"), it can be owing to no want of power to reach it , but is to be attributed only the pursuit	3	144	-6	Cicero's Villa), it is less owing to want of power to reach it, than to the pursuit
1	107	21	"Crossing the Brook"	3	144	-1	Crossing the Brook
1	107	25	aimed.	3	145	4	aimed at.
1	107	26	"Building of Carthage"…"Fall"	3	145	4	Building of Carthage - Fall
3	145	8	a sunset behind willows,	4	145	8	a Sunset behind willows;
1	107	-4	pictures,	3	145	10	pictures;
1	107	-2	"Ciceros's Villa,"	3	145	12	Cicero's Villa
1	107	-2	shall not find a single picture…years, which does	3	145	12	shall find few pictures
3	145	14	beauty,	4	145	14	beauty
4	145	21	tints,	5	145	19	tints
4	145	-8	pure,	5	145	-10	pure
1	108	5	sacrificed. Light,	3	145	18	sacrificed. [para inserted in 3 ] Light
1	108	11	pure,	3	145	23	pure;
4	146	5	landscape;-	5	146	3	landscape;
Complete	146	5	aerial	Library	269	2	aërial
4	146	10	mountains (intended.. .off)	5	146	8	mountains intended ... off,
Complete	146	10	aerial	Library	269	8	aërial
4	146	12	distant-..colour-	5	146	10	distant; ... colour;
Complete	146	22	aerial	Library	269	22	aërial
4	146	-6	tone (who ... light),	5	146	-7	tone who ... light,
1	108	-5	"Bacchus and Ariadne" of Titian it	3	146	3	Bacchus and Ariadne of Titian, it
1	109	10	"Europa"…Gallery,	3	146	15	Europa…Gallery;
1	109	-12	Nature's	3	146	-10	nature's
1	110	3	tone	3	147	3	tone. ¹ [fn: More important, observe, as matters of truth of fact. It may often chance that, as a matter of feeling, the tone is the more important of the two; but with this we have here no concern.]
1	110	6	this, for	3	147	6	this for
4	147	4	completeness-	5	147	3	completeness,
4	147	7	(Sect.14)	5	147	6	(§ 14.)
4	147	8	light- ... rays-	5	147	7	light, ... rays,
Autograph	147	6	(§14.),	Complete	147	6	(§14),
3	147	9	picture,	4	147	9	picture
4	147	9	picture	5	147	8	picture,
4	147	-7	lights,	5	147	-8	lights
Autograph	147	-13	crimson	Complete	147	-13	crimson,
1	110	23	impossible,	3	147	20	impossible;
1	110	25	by it,	3	147	22	by it;
1	111	12	picture,	3	148	8	picture;
4	148	9	distinction,	5	148	8	distinction
4	148	11	vermilion, in dead,	5	148	10	vermilion in dead
4	148	16	colours - greens for instance -	5	148	15	colours; greens for instance
3	148	19	beside it,	4	148	19	beside it;
Complete	148	-1	aerial	Library	272	-4	aërial
1	111	-6	and them;	3	148	25	and them,
1	111	-5	poor things!	3	148	26	poor things,
1	111	-4	air, and have nothing but brown paint to depend upon. And	3	148	27	air. And
1	112	21	tone,	3	149	9	tone;
1	112	26	"Slave Ship"	3	149	14	Slave Ship
4	149	9	contrasts	5	149	7	contrasts,
3	149	18	interfered	4	149	18	interfere
1	112	-4	surface,	3	149	21	surface;
1	113	1	are, while	3	149	26	are; while
1	113	8	crany	3	149	-7	cranny
1	113	12	it, while	3	149	-4	it; while
1	113	15	sea ports	3	149	-1	sea-ports
3	150	1	to it,	4	150	1	to it;
1	113	19	I do not doubt that the compassion … ears,	3	150	3	The compassion … ears;
3	150	11	ones,	4	150	11	ones;
4	150	19	Now	5	150	16	Now,
4	150	-5	Temeraire	5	150	-9	Téméraire
5	150	18	, or even	Autograph	150	19	or even
1	114	19	"Temeraire."	3	150	-5	Temeraire
3	150	-3	sunlight,	4	150	-3	sunlight;
1	114	-13	sea, because	3	151	2	sea; because
4	151	2	cold,	5	150	-3	cold
4	151	8	found ... artist	5	151	5	found, ... artist,
3	151	9	comparison,	4	151	9	comparison;
5	151	16	whatsoever ¹ ; but	Autograph	151	17	whatsovever; ¹ but
3	151	21	shade,	4	151	21	shade
4	151	fn2	and John	5	151	fn2	and of John
1	116	1	There is nothing so high in art but that a scurrile jest can reach it, and often, the greater the work, the easier it is to turn it into ridicule. To appreciate the science of Turner's colour would require the study of a life, but to laugh at it requires little more than the knowledge that yolk of egg is yellow, and spinage is green; a fund of critical information on which the remarks of most of our leading periodicals have been of late years exclusively based. We shall, however, in spite of the sulphur and treacle criticisms of our Scotch connoisseurs, and the eggs and spinage of our English ones, endeavour to test the works of this great colourist by a knowledge of nature somewhat more extensive than is to be gained by an acquaintance, however familiar, with the apothecary's shop, or the dinner table. §There is, in the first	3	152	1	[para in 1 omitted in 3 ] §There is, in the first
4	152	8	two-and-thirty	5	152	8	two and thirty
5	152	8	two and thirty	Autograph	152	8	two-and-thirty
3	152	16	which	4	152	16	which,
3	152	-6	grey,	4	152	-6	grey;
4	152	-6	lichen,- ... sound, and over all -	5	153	-6	lichen, ... sound; and over all,
Autograph	152	-6	carriage-roads is	Complete	152	-6	carriage-roads, is
1	117	13	and the truthful colouring of the picture	3	152	-5	and the truth of the picture
4	153	7	Albano ... grove	5	153	7	Albano, ... grove,
6	153	4	aqueduct,	7	153	4	aqueduct
5	153	4	Claudian aqueduct,	Autograph	153	4	Claudian aqueduct
3	153	9	amber,	4	153	9	amber;
4	153	12	its masses	5	153	12	their masses
Autograph	153	fn2	mendicar et ad axes	Complete	153	fn2	mendicaret ad axes
4	154	21	her;- but	5	154	21	her. But
5	154	36	of grey,	Autograph	154	36	of grey
Autograph	154	-3	generalization; -	Complete	154	-3	generalization, -
4	154	-1	whatsoever;-	5	154	-1	whatsoever;
1	118	-6	it, but	3	154	4	it; but
1	119	15	one half reach	3	154	21	one-half reach
1	119	19	"Mercury and the Woodman"	3	154	25	Mercury and the Woodman
3	155	3	ultra-marine	4	155	3	ultramarine
4	155	5	flat,	5	155	5	flat
4	155	8	broad, ... falsehood -	5	155	9	broad ... falsehood,
1	120	13	Blue he is, in his sea; so is nature;-blue he is, as a sapphire, in his extreme distance; so is nature; blue he is, in the misty shadows and hollows of his hills; so is nature; but blue he is not , where detail and illumined surface are visible;	3	155	13	Blue he gives to his sea; so does nature;- blue he gives, sapphire-deep, to his extreme distance; so does nature;- blue he gives to the misty shadows and hollows of his hills; so does nature; but blue he gives not , where detail and illumined surface are visible;
1	120	13	Blue he is, in his sea; so is nature;- blue he is, as a sapphire, in his extreme distance; so is nature; blue he is, in the misty shadows and hollows of his hills; so is nature: but blue he is not , where detail and illumined surface are visible;	2	120	12	Blue he gives to his sea; so does nature;-blue he gives, sapphire-deep, to his extreme distance; so does nature;- blue he gives to the misty shadows and hollows of his hills; so does nature: but blue he gives not , where detail and illumined surface are visible;
3	155	14	nature;-blue	4	155	14	nature; blue
4	155	14	nature;	5	155	15	nature;-
5	155	17	nature: but	Autograph	155	17	nature; but
5	155	19	hue; nor	Autograph	155	19	hue: nor
5	155	20	works, and	Autograph	155	20	works - and
5	155	21	especially, one	Autograph	155	21	especially - one
Autograph	155	-7	Nicholas Poussin	Complete	155	-7	Gaspar Poussin
Complete	155	-7	Gaspar Poussin	Library	282	8	Nicholas Poussin
1	120	-8	as false in colour, and receiving such cases of	3	155	-11	in colour as false, while they receive such cases of
1	120	-8	as false in colour, and receiving such cases as	2	120	-4	in colour as false, while they receive such cases of
1	120	-3	olive green	3	155	-7	olive-green
1	120	-3	olive green	2	120	-4	olive-green
1	121	11	"Marriage of Isaac and Rebecca"…"Sacrifice of Isaac"	3	156	5	Marriage … Rebecca … Sacrifice of Isaac
3	156	6	Can	4	156	6	can
4	156	8	noon-day	5	156	9	noonday
4	156	11	kind -	5	156	12	kind,
4	156	-10	ground;-	5	156	-9	ground;
4	156	-5	now -	5	156	-4	now, -
1	122	11	falsehood. It is quite true, that in this particular department of art, colour, one error may often be concealed by another, and one falsehood made to look right by cleverly matching another to it; but this only enables us to be certain, that when we have proved one colour to be false, if it looks right, there must be something else false to keep it in countenance, and so we have proved two falsehoods instead of one. And indeed truth	3	156	-3	falsehood. Truth [sentence omitted in 3 ]
1	122	11	falsehood. It is quite true, that in this particular department of art, colour, one error may often be concealed by another, and one falsehood made to look right by cleverly matching another to it; but this only enables us to be certain, that when we have proved one colour to be false, if it looks right, there must be something else false to keep it in countenance, and so we have proved two falsehoods instead of one. And indeed truth	2	122	8	falsehood. Truth
1	121	-1	"Devonport with the Dockyards"	3	156	-1	Devonport with the Dockyards
3	157	2	not,	4	157	2	not;
4	157	8	but close comparison	5	156	9	but by close comparison
4	157	17	illumination -	5	156	19	illumination, -
4	157	-12	light,	5	156	-10	light;
Autograph	157	-17	Greek characters : ou(smooth breathing over) d smooth breathing i.e. oud’	Complete	157	-17	Greek characters: ou (smooth breathing over) d with no smooth breathing i.e. oud
1	122	-5	Turner into grey. [para omitted in 1 ] §It is true that	3	157	11	Turner into grey. §Whatever depth of gloom may seem to invest the objects of a real landscape, yet a window with that landscape seen through it, will invariably appear a broad space of light as compared with the shade of the room walls; and this single circumstance may prove to us both the intensity and the diffusion of daylight in open air, and the necessity, if a picture is to be truthful in effect of colour, that it should tell as a broad space of graduated illumination - not, as do those of the old masters, as a patchwork of black shades. Their works are nature in mourning weeds, - [Greek quotation follows] §It is true that
1	122	-5	Turner into grey. §It is true that	2	122	23	Turner into grey. §Whatever depth of gloom may seem to invest the objects of a real landscape, yet a window with that landscape seen through it, will invariably appear a broad space of light as compared with the shade of the room walls; and this single circumstance may prove to us both the intensity and the diffusion of daylight in open air, and the necessity, if a picture is to be truthful in effect of colour, that it should tell us a broad space of graduated illumination- not, as do those of the old masters, as a patchwork of black shades. Their works are nature in mourning weeds,- [Greek quotation follows]. §It is true that
1	123	7	spaces, … tone,	3	157	-9	spaces; … tone;
3	157	-5	truth, the	4	157	-5	truth,-the
4	157	-3	Sevres	5	156	-1	Sivres
1	123	22	such for instance,	3	158	5	such, for instance,
4	158	2	brilliancy,	5	158	4	brilliancy
4	158	8	region, -	5	158	10	region
4	158	10	present,	5	158	12	present;
4	158	12	Turner -	5	158	14	Turner,
3	158	25	snow white	4	158	25	snow-white
4	158	-10	molten,	5	158	-8	molten
4	158	-8	unsullied, shadowless,	5	158	-6	unsullied shadowless
4	158	-5	visible,- ... all,-	5	158	-3	visible; ... all,
1	124	14	fire,	3	158	-9	fire;
3	158	-3	lightless,	4	158	-3	lightless;
4	158	-3	filmy,	5	158	-1	filmy
4	158	-1	connection	5	159	2	connexion
1	124	-10	behind,	3	159	3	behind;
4	159	5	Temeraire	5	159	7	Téméraire
Complete	159	2	connexion	Library	286	6	connection
3	159	16	is almost	4	159	16	are almost
4	159	-15	elm-trees	5	159	-13	elm trees
Autograph	160	-	the Napoleon	Complete	160	-	the "Napoleon."
5	160	7	it. And	Autograph	160	7	it! And
Complete	160	8	exhibition	Library	288	3	Exhibition
4	160	16	the Napoleon	5	160	17	the "Napoleon"
4	160	16	Academy last year, there	5	160	17	Academy, there
4	160	20	sea; How [typo]	5	160	21	sea; how
5	160	-15	lightnings!	6	160	15	lightnings?
4	160	-11	rest;-	5	160	-10	rest.
4	160	-6	shore-	5	160	-5	shore, -
1	125	-6	every day,	3	160	1	every day;
1	126	5	colour … attain to,	3	160	8	colour, … attain to;
1	126	14	"Napoleon"	3	160	16	Napoleon
1	127	16	observer,	3	161	12	observer;
3	161	14	light,	4	161	14	light;
3	161	22	malign her,	4	161	22	malign her
4	161	23	nature -	5	161	22	nature;
1	127	-2	but do not talk about truth.	3	161	-9	but do not ask for the truth which you would not acknowledge and could not enjoy.
3	162	2	animadversion,	4	162	2	animadversion;
4	162	-1	works,	5	163	2	works;
5	162	15	No.175.,	6	162	15	No.175,
6	162	15	175,	7	162	15	175.,
Autograph	162	15	175.,	Complete	162	15	175,
Complete	162	4	represent	Library	290	10	represent,
1	128	14	exceedingly fond	3	162	5	fond
1	128	21	people expose themselves in maligning	3	162	11	people malign
1	128	-10	feeling; I look upon him, taken merely as an artist, as the master of masters, alone and incomparable, and I fully expect that the world will see another Titian and another Raffaelle, before it sees another Rubens. Whenever, therefore, I see anything attributed to him artistically wrong, or testifying a want of knowledge of nature, or of feeling for colour, I become instantly incredulous; and if I ever advance anything affirmed to be his as such, it is not so much under the idea that it can be his, as to show what a great name can impose upon the public. The landscape I speak of has beyond a doubt high qualities in it; I can scarcely make up my mind whether to like it or not, but at any rate, it is something which the public are in the habit of admiring and taking upon trust to any extent. Now the sudden	3	162	16	feeling; and whatever imperfections in his art may have resulted from his unfortunate want of seriousness and incapability of true passion, his calibre of mind was originally such that I believe the world may see another Titian and another Raffaelle, before it sees another Rubens. But I have before alluded to the violent license he occasionally assumes; and there is an instance of it in this picture apposite to the immediate question. The sudden
4	163	9	compliment. I ... pantomine;	5	163	10	compliment; I ... pantomine:
3	163	14	Turner,	4	163	14	Turner;
4	163	17	disgracing, ... powerful,	5	163	18	disgracing ... powerful
4	163	21	of it, ... whole)	5	163	22	of it..whole).
1	130	24	greys. §And it is, perhaps, herein that the chief beauty, excellence, and truth, of Turner's colour, as distinguished from the absurd, futile, and fatal efforts which have been made to imitate it, chiefly lies. For Nature, in the same way, never uses raw colour; there is a tenderness and subdued tone about her purest hues, and a warmth, glow and light in her soberest. It is	3	163	-7	greys. §It is
1	130	-6	"Mercury and Argus"	3	163	-6	Mercury and Argus
1	130	-3	"Mercury and Argus"	3	163	-3	Mercury and Argus
4	164	7	works ... them,	5	164	8	works, ... them
Complete	164	7	key-note	Library	293	1	keynote
Complete	164	8	aerial	Library	293	2	aërial
5	164	33	connexion	Autograph	164	34	connection
5	164	35	canvass	Autograph	164	36	canvas
4	164	-7	connection	5	164	-5	connexion
Complete	164	-6	key-notes	Library	293	-5	keynotes
4	165	14	uncertainty- ... change- ... .in it -	5	165	17	uncertainty; ... change; ... in it;
4	165	19	nor colour ... nor atom	5	165	21	or colour ... or atom
4	165	-10	such -	5	165	-8	such;
4	165	-3	change- ... again - ... there-	5	165	-1	change; ... again, - ... there,-
4	165	-1	other -	5	166	3	other;
4	166	-11	and that	5	166	-9	and, that
4	167	13	the Snowstorm	5	167	15	the Snow-storm
4	167	-8	Carthage, with all diffidence be it spoken, is, as far as my feelings are competent to judge,	5	167	-6	Carthage is, as far as I am competent to judge,
1	131	3	blue,	3	164	1	blue;
1	131	7	touch,	3	164	5	touch;
1	131	14	ultramarine; skies, in which the raw, meaningless colour is shaded steadily and perseveringly down, passing through the pink into the yellow as a young lady shades her worsted, to the successful production of a very handsome oil-cloth, but certainly not of a picture. §But throughout	3	164	11	ultramarine. §Throughout
1	131	-3	colour,	3	164	23	colour;
1	132	25	edges,	3	165	8	edges;
1	133	-9	"Sinon before Priam"	3	166	5	Sinon before Priam
1	134	4	stone; while no artist, dead or living, except Turner, has ever attained the constant and perfect realization of the great principle of nature – that there shall be nothing without change: with him, and with him only, every individual stroke of the brush has in itself graduation and degrees of colour; and a visible space of monotony is a physical impossibility. Every part is abundant and perfect in itself, though still a member of the great whole; and every square inch contains in itself a system of colour and light, as complete, as studied, and as wonderful as the great arrangement of that to which it is subordinate. §What	3	166	16	stone. §What
1	135	11	"Quilleboeuf"	3	167	5	Quilleboeuf
1	135	14	"Venices"	3	167	8	Venices
1	135	20	"Snowstorm"	3	167	13	Snowstorm
1	135	21	"Napoleon" and "Slaveship"	3	167	13	Napoleon and Slaveship
1	135	-4	"Crossing the Brook"	3	167	24	Crossing the Brook
1	136	5	"Fall of Carthage"	3	167	-8	Fall of Carthage
1	136	8	wrong,	3	167	-6	wrong;
1	136	9	"Building of Carthage"	3	167	-5	Building of Carthage
1	136	17	extent,	3	168	3	extent;
3	168	4	seen, and	4	168	4	seen,and,
4	168	4	seen, and,	5	168	5	seen, and
4	168	11	shade,	5	168	12	shade;
4	168	13	works - and few are unengraved -	5	168	14	works (and few are unengraved)
4	168	fn5	effect;	5	168	fn5	effect:
4	168	fn-3	from his	5	168	fn-3	from, his
4	168	fn-1	Temeraire	5	169	fn2	Téméraire
5	168	12	shade; a	Autograph	168	13	shade-a
1	136	22	based, … [long passage follows, omitted in 3rd edition, to page 138 line 3] … its subordination	3	168	9	based. §One point only remains to be noted respecting his system of colour generally – its entire subordination
1	138	7	nature,	3	168	14	nature
1	138	-14	[fn in 3rd edition not in 1 ]]	3	168	28	¹ This is saying too much; … restless modern lines. [long fn to end of page 169, not in 1 ]
4	169	fn5	Sky	5	169	fn7	sky,
5	169	-24	by these?	6	169	-26	by these!
3	169	fn11	art union	4	169	fn11	Art Union
4	169	fn12	original	5	169	13	original,
3	169	fn13	engraving,	4	169	fn13	engraving
4	169	fn13	place:	5	169	fn14	place;
4	169	fn15	line (for ... intervals).	5	169	fn16	line, for ... intervals.
3	169	fn28	These are	4	169	fn28	These are
3	169	fn36	especially	4	169	fn36	particularly
Complete	169	fn-3	Durer	Library	300	fn-2	Dürer
Complete	169	fn-3	wood-cutter	Library	300	fn-2	woodcutter
4	170	1	nature. He paints in colour, but he thinks in light and shade; and were it	5	169	2	nature. Were it
4	170	3	sunshine, would,	5	169	3	sunshine, he would,
4	170	8	With him, as with all the greatest painters, and in Turner’s more than all, the hue	5	169	6	With him, the hue
4	170	-3	the source nor the essence of that impression	5	169	7	the chief source of that impression
4	170	-3	ideas -	5	169	-3	ideas, -
4	171	7	ancients -	5	171	7	ancients;
4	172	3	them,	5	171	-3	them;
4	172	5	object, (while ... lights,) ... spaces,	5	171	-1	object, while ... lights, ... spaces
4	172	15	one-fourth	5	172	10	one fourth
4	172	-11	flat - ... crosses -	5	172	22	flat, ... crosses,
4	172	-9	compared to ... sharp edged	5	172	24	compared with ... sharp- edged
4	172	-4	principle:	5	172	-9	principle;
4	172	-1	gradation;	5	172	-6	gradation,
1	138	-2	disgrace. For no colour can be beautiful, unless it is subordinate; it cannot take the lead without perishing – in superseding the claims of other excellencies, it annihilates its own. To say that the chief excellence of a picture is its colour, is to say that its colour is imperfect. In all truly great painters,	3	170	8	disgrace. With him, as with all the greatest painters,
1	140	4	of them – we must not bring their poetry and their religion down to optics. I cannot watch the sun descending on Sinai, or stand in the starry twilight by the gates of Bethlehem, and begin talking of refraction and polarization. It is your heart that must be the judge here – if you do not feel the light, you will not see it. When, therefore, I have proved to you what is beautiful, and what God intended to give pleasure to your spirit in its purity, we will come to Turner as the painter of light – for so emphatically he should be called – and, picture by picture, we will trace at once the truth and the intention. §But at present	3	171	3	of these. §At present
1	141	21	totally,	3	172	8	totally
4	173	4	enough (though ... room),	5	172	-2	enough, though ... room,
3	173	10	sea-ports	4	173	10	seaports
4	173	18	shadow would have been darker than the darkest part of the trunks, and both on the ground and building would have been defined and conspicuous	5	173	13	shadow, both on the ground and building, would have been defined and conspicuous
4	173	-14	right hand	5	173	-16	right-hand
4	173	-12	revise -	5	173	-18	revise:
Complete	173	-3	another,	Library	306	15	another
1	142	-3	"Marriage of Isaac and Rebecca"	3	173	15	Marriage of Isaac and Rebecca
1	143	6	conspicuous,	3	173	20	conspicuous;
1	143	10	"Phocion,"	3	173	23	Phocion,
3	174	4	principle,	4	174	4	principle
4	174	8	clear-	5	174	2	clear;
4	174	21	title-page	5	174	15	titlepage
4	174	-10	page 91,	5	174	22	page 91.,
4	174	-6	page 168	5	174	26	page 168.
5	174	-17	91.,	6	174	-17	91,
5	174	-13	168.	6	174	-13	168,
6	174	-17	91,	7	174	-17	91.,
6	174	-13	168,	7	174	-13	168.
5	174	22	91.,	Autograph	174	22	91,
5	174	26	168. of	Autograph	174	26	168 of
Complete	174	15	titlepage	Library	306	-1	title-page
Complete	174	-4	tow'rds me	Library	307	-8	towards me
1	144	12	"Hero and Leander"	3	174	17	Hero and Leander
1	144	-9	"Beech-tree's Petition"	3	174	-8	Beech-tree's Petition
1	145	5	greensward. – Excursion, Book VI.	3	175	6	greensward. §EXCURSION, Book VI.
1	145	6	"Rhymer's Glen"	3	175	7	Rhymer's Glen
1	145	9	"Armstrong's Tower"	3	175	9	Armstrong's Tower
1	145	10	"Brienne"	3	175	10	Brienne
1	145	14	"Hampton Court"	3	175	14	Hampton Court
4	175	1	[no qn-marks] EXCURSION, BOOK VI.	5	174	-7	[qn-marks] Excursion , book vi.
4	175	7	Glen, (Illustrations to Scott)	5	174	-1	Glen (Illustrations to Scott),
4	175	16	drawings, is	5	175	8	drawings is,
4	175	-11	beam -	5	175	21	beam:
4	175	-7	acts- ... thing ... another-	5	175	-14	acts,- ... thing, ... another,-
4	175	-6	again- ... wave,-	5	175	-12	again,- ... wave-
5	175	15	all-pervading	Autograph	175	15	all pervading
Autograph	175	15	all pervading	Complete	175	15	all-pervading
Autograph	175	-	schools.	Complete	176	-	schools
Complete	175	6	Court	Library	308	3	Court,
Complete	175	17	They leave,	Library	308	16	they leave
3	175	-4	strikes,	4	175	-4	strikes;
1	146	4	fullness	3	175	-3	fulness
4	175	-1	dimness;	5	175	-8	dimness,-
1	146	7	kindling	3	176	1	kindling,
4	176	1	kindling,	5	175	-6	kindling
4	176	2	sparkling or still, it	5	175	-6	sparkling or serene,- it
5	176	2	attention;	6	176	2	attention:
6	176	2	attention:	7	176	2	attention;
3	176	5	landscape-painters	4	176	5	landscape painters
4	176	8	attention,-	5	176	2	attention;
3	176	23	ground	4	176	23	ground,
1	146	-4	ground,	3	176	24	ground
Autograph	177	-	Neglect of	Complete	177	-	Neglect or
4	177	5	have, taken in the abstract, been beyond all praise, owing to the exquisite	5	176	-2	have been very remarkable for the exquisite
5	177	6	quantity;	6	177	6	quantity:
6	177	6	quantity:	7	177	6	quantity;
Autograph	177	13	whole, she	Complete	177	13	whole she
4	177	16	extensive- ... spots- ... wave- ... vessel- ... roof- ... cottage-	5	177	10	extensive, ... spots: ... wave, ... vessel, ... roof, ... cottage,
5	177	29	much more.	Autograph	177	29	much nore. [typo]
5	177	-16	by comparison;	6	177	-16	by comparison:
6	177	-16	comparison:	7	177	-16	comparison;
4	177	-3	quantity,-one-fourth	5	177	-10	quantity; one fourth
4	178	3	i.e. , ... one-half	5	177	-5	i.e ... one half
6	178	4	perpetual	7	178	4	perpetual,
4	178	12	chiaroscuro-..coadjutors-	5	178	5	chiaroscuro; ... coadjutors;
4	178	18	art- ... sensuality-	5	178	11	art, ... sensuality,
4	178	23	Fuseli-	5	178	16	Fuseli,-
5	178	23	shade" is	Autograph	178	23	shade is
5	178	30	shade"	Autograph	178	30	shade,"
4	178	-8	tricks- ... arrangement- ... lights-	5	178	-14	tricks, ... arrangement, ... lights,
6	178	-8	shade"	7	178	-8	shade,"
Autograph	178	-8	shade,"	Complete	178	-8	shade"
4	178	-2	fancy;-	5	178	-8	fancy;
4	179	6	nothing-	5	178	-1	nothing,
5	179	8	aërial	Autograph	179	8	aerial
Complete	179	8	aerial	Library	313	7	aërial
4	179	13	light- ... shadow-	5	179	7	light, ... shadow,
5	179	17	quantities;	Autograph	179	18	quantities:
4	179	19	effect-	5	179	13	effect;
4	179	22	intention;-	5	179	16	intention:
4	179	23	to give precisely the same quantity of deepest shade which she does of lightest light, and no more; paints	5	179	16	to give both the deepest shade and lightest light in small quantities; paints
4	179	26	conspicuous	5	179	19	conspicuous,
Complete	179	-5	key-notes	Library	313	-2	keynotes
4	180	13	landscape-	5	180	7	landscape,
Autograph	180	14	light	Complete	180	14	light,
5	180	28	of boats,	Autograph	180	28	of boats
Complete	180	-9	boats	Library	315	3	boats,
Autograph	180	-5	5. – Beaugency.	Complete	180	-5	5. Beaugency.
Autograph	180	-1	7 Chateau	Complete	180	-1	7. Chateau
5	181	13	36.63.95.184.192.203.	6	181	11	36,63,95,184,192,203,
Autograph	181	13	pages 36. 63. 95. 184. 192. 203. of Rogers's poems;	Complete	181	13	pages 36, 63, 95, 184, 192, 203, of Rogers's Poems;
4	181	14	study. Scene ... Villequier,- ... Héve,- ... Vernon,- ... Cloud, ... Marne,- Troyes,- ... 36, 63, 95, 184, 192, 203, ... Campbell,	5	181	9	study:- Scene ... Villequier, ... Héve, ... Vernon, ... Cloud, ... Marne, Troyes; ... 36.63.95.184.192.203 ... Campbell;
6	181	-10	36, 63, 95, 184, 192, 203,	7	181	-10	36. 63. 95. 184. 192. 203.
4	181	-7	Scott, ... Milton	5	181	-7	Scott; ... Milton;-
5	182	2	aërial	Autograph	182	2	aerial
Complete	182	2	aerial	Library	319	2	aërial
Complete	182	5	aerial	Library	319	6	aërial
5	182	12	aërial	Autograph	182	12	aerial
Complete	182	12	aerial	Library	319	14	aërial
5	182	13	aërial	Autograph	182	12	aerial
Complete	182	13	aerial	Library	319	15	aërial
4	182	fn-1	subject, therefore, to	5	182	fn-1	subject, for the present, to
5	183	1	aërial	Autograph	183	1	aerial
Complete	183	1	aerial	Library	820	4	aërial
4	183	21	both,	5	183	20	both
4	183	27	yards,	5	183	25	yards;
1	148	-	on art.	3	177	-	on art;
1	148	24	able to paint lanterns and candles, the principle here laid down is indeed exceedingly correct; or if it means being able to manufacture	3	178	6	able to manufacture
1	151	19	closely. §Now observe how totally the old masters … [two pages omitted in 3rd edition, finishing at p. 153 line -6] §And therefore I need scarcely	3	180	15	closely. §I need scarcely
1	154	4	"Chateau Gaillard" [and qn marks passim pp 154-5]	3	180	23	Chateau Gaillard [no qn marks passim pp 180-1]
1	154	13	Canaletti's	3	180	-9	Canaletto's
1	155	18	engravers. §Such then are the two great principles …[final para omitted from 3 ] … for being true.	3	181	-1	engravers.
1	156	2	THE EYE	3	182	2	THE EYE ¹ [fn: I have left this chapter in its original place, because I am nore than ever convinced of the truth of the position advanced in the 8th paragraph; nor can I at present assign any other cause, than that here given, for what is there asserted; and yet I cannot but think that I have allowed far too much influence to a change so slight as that which we insensibly make in the focus of the eye; and that the real justification of Turner's practice, with respect to some of his foregrounds, is to be elsewhere sought. I leave the subject, therefore, to the reader's consideration.
1	156	-1	tone,	3	183	2	tone;
4	184	4	versa … each, … air-tone,	5	184	2	versâ … each … air-tone
5	184	5	separately ¹ ;	Autograph	184	5	separately; ¹
1	158	12	air-tone, and indistinctness dependant	3	184	8	air-tone; and indistinctness dependent
3	184	8	air-tone;	4	184	8	air-tone,
1	158	14	nature,	3	184	9	nature;
3	184	10	eye,	4	184	10	eye;
4	184	13	landscape-painter	5	184	11	landscape painter
5	184	18	aërial	Autograph	184	18	aerial
Complete	184	18	aerial	Library	322	8	aërial
3	184	20	to it,	4	184	20	to it;
1	159	8	space. And that they … [two pages not in 3rd edition, ending at p160 line -7] … spectator's feet. Turner	3	184	-1	space. Turner
3	184	fn5	eye,	4	184	fn5	eye;
1	158	fn-7	rest when	3	184	fn-9	rest where
1	158	fn-1	focus.	3	184	fn-4	focus. On the other hand, it must be noted that the greater part of the effect above described is consequent not on variation of focus, but on the different angle at which near objects are seen by each of the two eyes, when both are directed towards the distance.
4	185	4	This is not done by slurred ... art,)	5	185	1	This, observe, is not done by slurred ... art),
4	185	9	necessity,	5	185	6	necessity
4	185	10	Turner, though fully	5	185	7	Turner, and fully
4	185	-9	hills- ... wander-	5	185	-12	hills; ... wander;
4	185	fn2	fidelity-	5	185	fn2	fidelity
4	186	-10	offensive	5	186	-13	offensive,
4	186	-9	whatsoever,	5	186	-12	whatsoever
4	186	-7	there is	5	186	-10	there are
4	188	5	object	5	188	5	object,
4	188	11	paper,	5	188	11	paper
Autograph	189	2	&c.;	Complete	189	2	etc.;
4	189	4	losing their definite forms	5	189	3	losing its definite form
4	189	15	other object	5	189	14	other subject
4	189	23	there;	5	189	22	there:
4	189	26	you; first	5	189	25	you. First
6	190	-18	piece	7	190	-18	pieee [typo]
4	190	-12	eye,-	5	190	-12	eye;
4	190	-1	body:-	5	190	-1	body;
4	191	3	applied. "You ... flat; "	5	191	3	applied- "You ... flat: "
4	191	6	260	5	191	9	260
6	191	9	260,	7	191	9	260.
Autograph	191	9	260.	Complete	191	9	260
4	191	12	spaces,	5	191	12	spaces;
4	191	14	treated as	5	191	14	treated as!
4	191	17	deep ribbed	5	191	17	deep-ribbed
4	191	25	nor blinds, nor tiles ... nor understood	5	191	24	or blinds, or tiles ... .or understood
4	191	-2	such an one	5	191	-2	such a one
4	192	14	nor felt, nor guessed	5	192	14	or felt, or guessed
4	192	21	casements - all ... there-	5	192	22	casements; ... there;
4	192	-6	of it-	5	192	-6	of it;
4	193	4	hair’s-breadth	5	193	4	hair’s breadth
4	193	5	her,- ... forest- ... ... brook- ... hedges, ... paths, ... mystery-	5	193	5	her: ... forest; ... brook; ... .hedges ... paths ... mystery,
4	193	16	all this- ... infinity-	5	193	16	all this, ... infinity,
Autograph	193	16	all this,	Complete	193	16	all this;
4	193	18	one-thousandth	5	193	18	one thousandth
4	194	1	lesson- ... essence-	5	193	-1	lesson, ... essence,
Autograph	194	6	&c.	Complete	194	6	etc.
4	194	11	on,- that	5	194	11	on, that
4	194	14	harmonies, ... million,	5	194	14	harmonies ... million
4	194	17	details,	5	194	17	details
4	195	5	nothing,- ... characterless,-	5	195	5	nothing: ... characterless;
4	195	11	be anything	5	195	10	be any thing
4	195	16	kind,- ... ago, ... Argus	5	195	15	kind, ... ago ... Argus;
4	195	20	Abundant, ... various,	5	195	18	Abundant ... various
4	196	16	lines,-	5	196	15	lines,
4	196	23	line,-	5	196	22	line,
Complete	196	fn1	Vide	Library	336	fn1	Vide
4	196	fn2	chateau	5	196	fn2	château
5	197	-	greater fulness	6	197	-	greaterfulness
4	197	-9	upon it,-	5	197	-9	upon it;
1	160	-1	in art,) [fn] That is to say, … [to foot of page 161] … road to ruin.	3	185	5	in art,) [fn omitted in 3 ]
1	161	-2	path. [fn omitted in 1 ]	3	185	-6	path. ¹ [fn: There is no inconsistency, observe, between this passage and what was before asserted respecting the neccessity of botanical fidelity – where the foreground is the object of attention. Compare Part II. Sect. I Chap. VII. §10:–"To paint mist rightly, space rightly, and light rightly, it may be often necessary to paint nothing else rightly."]
1	162	4	illustration [fn omitted in 1 ]	3	185	-2	illustration ² [fn: Hardly. It would have been so only had the recently finished foregrounds been as accurate in detail as they are abundant: they are painful, I believe, not from their finish, but their falseness.]
1	162	7	foreground and designed it more completely, the picture	3	186	1	foreground, the picture
1	162	18	Callcott's magnificent "Trent" (perhaps the best picture, on the whole, he has ever painted), is severely	3	186	10	Callcott's Trent is severely
1	163	22	by Goodall, or any	3	187	6	by any
1	163	-3	the mind. §The laborious completeness of the figures and foregrounds of the old masters, then, far from being a source of distance and space, is evidently destructive of both. It may perhaps be desirable on other grounds; it may be beautiful and necessary to the ideal of landscape. I assert at present nothing to the contrary; I assert merely, that it is mathematically demonstrable to be untrue.	3	187	-1	the mind.
1	166	18	mass,	3	189	12	mass;
1	167	2	tell how. Now	3	189	-8	tell how it is so. Now
1	167	5	lips nor	3	189	-6	lips, nor
1	167	-8	retires,	3	190	16	retires;
1	168	1	abundant,	3	190	22	abundant;
1	168	7	comprehensible,	3	190	28	comprehensible;
1	168	-7	masses,	3	191	10	masses
1	168	-6	windows. The light side is blank, No. 1, the dark side is blank, No. 2, and the windows are blanks, Nos. 3, 4, 5. There is not a shadow of a suggestion of anything whatsoever in either of the spaces	3	191	11	windows. There is no suggestion of anything in any of the spaces
1	168	-2	grey, with no change in it, the dark wall dead grey, with no change in it, and the windows dead black, with no change in it. How differently would nature have treated you.	3	191	13	grey, the dark wall dead grey, and the windows dead black. How differently would nature have treated us.
1	169	8	mattrasses	3	191	19	mattresses
1	169	18	"Marriage of Isaac and Rebecca"	3	191	-10	Marriage of Isaac and Rebecca
1	169	20	Now, I have seen a good many … a good many fortifications	3	191	-9	I have seen many … many fortifications.
1	169	-8	old,	3	191	-1	old;
1	169	-6	appreciated, and I do not think the volume	3	192	1	appreciated, and the volume
1	170	1	permitted you	3	192	6	permitted us
1	170	4	given you	3	192	8	given us
1	170	26	"Sacrifice of Isaac"	3	192	26	Sacrifice of Isaac
1	172	fn-2	bark	3	194	fn-3	bark,
1	174	2	"Mercury and Argus"	3	195	18	Mercury and Argus
1	174	9	represents,	3	195	25	represents;
1	174	15	allowed you … see,	3	195	-10	allowed us … see;
1	174	25	Perhaps the absolute truth and accuracy of this	3	195	-2	Perhaps the truth of this
1	175	7	windows,	3	196	14	windows;
1	175	-8	distance into action even in every part	3	196	-6	distance even into every part
1	175	-3	of the small columns which form the balustrade on the first story above the round arches. You	3	196	-2	of the columns on the second story. You
1	175	fn1	"Fontainbleau" … "Human Life" … "Venice" … "Chateau de Blois" … "Rouens" … "Pont Neuf, Paris" …"Shylock"	3	196	fn1	[no qn marks] Rouen
1	176	1	patterns. You …. them.	3	197	1	patterns: You …. them:
1	176	8	Canalletti's …. Palazzo Pisani,	3	197	7	Canaletto's …. Palazzo Manfrini,
1	176	11	yellow one	3	197	10	yellow one above it
1	176	13	kind. Now this may be fine painting perhaps, but it is not truth, neither will it ever have the effect of truth upon the mind.	3	197	12	kind. [sentence omitted]
1	176	20	them,	3	197	16	them;
1	176	23	"Daphne hunting with Leucippus,"	3	197	19	[no qn marks]
1	177	7	incomprehensibility. [fn omitted in 1 ]]	3	197	-1	incomprehensibility.¹ [lengthy fn pages 197-8]
4	198	fn-13	western sky,	5	198	fn-13	western sky
4	198	fn-10	but in ... colour	5	198	fn-10	but, in ... colour,
4	198	fn-5	seen and	5	198	fn-5	seen; and
4	198	fn-4	chateau	5	198	fn-4	château
4	198	4	vacancy, ... distinctness,	5	198	4	vacancy ... distinctness
3	198	fn-3	Caer laverock	4	198	fn-3	Caer-laverock
4	198	fn-3	innumerable),	5	198	fn-3	innumerable)
4	199	2	five; ... tell-	5	198	7	five: ... tell;
5	199	29	every thing	Autograph	199	27	everything
4	199	-9	subject,-..everything,	5	199	-10	subject; ... every thing
4	200	1	too fine	5	199	-1	too finely
4	200	-3	form-	5	200	-3	form;
4	201	3	man, more,	5	201	3	man more
4	201	10	rain cloud ... everthing	5	201	10	rain-cloud..every thing
1	177	19	detail. Of all errors…[to 178/1]…and a single dusty	3	199	5	detail. §A single dusty …[this lengthy passage omitted in 3 ]]
1	178	5	doomsday. And thus, while the mind is kept intent upon wholeness of effect, the hand is far more likely to give faithful images of details, than if the mind and hand be both intent on the minutiæ. What	3	199	8	doomsday. What …[sentence omitted]
1	178	19	much harm	3	199	18	much of harm
1	178	23	falls much into extreme detail	3	199	21	falls into extreme detail
1	178	26	agreeable that a nostril or an ear should be suggested by a single dash of a pencil, than that they should be made out with microscopic accuracy, - more agreeable that the general ….And the most	3	199	23	agreeable that the general … And even the most [omitted]
1	178	-3	impressive; it will lose only what is monotonous and uninteresting, if not disagreeable. But	3	199	-10	impressive. But …[sentence omitted]
1	179	6	Poussin,	3	199	-5	Poussin;
1	179	14	massed,	3	200	2	massed;
1	179	17	followed her. And thus we havew two great classes of erroe in landscape painting; the first, the attempting to give all details distinctly, which is the error of children, mechanics, and the Dutch school; the second, the omitting details altogether, which is commonly the error of an impetuous,itellectual, but uncultivated mind, and is found in whatever is best of the Italian school. (Claude's foregrounds come under the same category with the Dutch.) Both destroy space and beauty, but the first is afalsehood, the second only an imperfection. § We have now	3	200	6	followed her. §We have now
1	180	5	himself. Let me….of modern art!	3	200	-1	himself. [final part of chapter omitted]
3	202	2	of them,	4	202	2	of them;
4	202	3	them;	5	202	1	them:
4	202	4	not "too bright, nor good, for human nature’s daily good,"	5	202	2	not "Too bright, nor good, For human nature’s daily good;"
4	202	10	immortal in us,	5	202	10	immortal in us
4	202	22	says ... wet, ... windy,	5	202	22	says, ... wet; ... windy;
5	202	14	tions; we	Autograph	202	14	tions: we
5	202	27	south, and	Autograph	202	27	south and
1	182	14	infinity, it is surely meant for the chief teacher of what is immortal in us, as it is the chief minister of chastisement or of blessing to what is mortal. And yet	3	202	10	infinity, its appeal to what is immortal in us, is as distinct, as its ministry of chastisement or of blessing to what is mortal is essential. And yet
1	182	24	but as a succession	3	202	18	only as a succession
1	183	5	extraordinary, when the heavens force themselves on our attention with some blaze of fire, or blackness of thunder, or awaken the curiosity of idlenessmbecause the sun looks like a frying-pan, or the moon loke a fool. § But it is not	3	202	-5	extraordinary; and yet it is not …[omitted]
1	183	-3	but once	3	203	7	but one once [typo]
4	203	3	perpetual,- ... understood,- ... repeated,	5	203	3	says, ... wet; ... windy; perpetual; ... understood; ... repeated;
5	203	6	eternally; which	Autograph	203	6	eternally: which
3	203	14	reality,	4	203	14	reality;
4	203	-6	imperfect, ... visible,	5	203	-6	imperfect ... visible
4	203	-5	steam),	5	203	-5	steam);
1	184	11	judges. Its other component parts of subject can be open to the criticism of comparatively but few. What I	3	203	28	Judges. What I …[omitted]
Autograph	204	-	§8.	Complete	204	-	§.8.
3	204	8	clouds,	4	204	8	clouds;
4	204	13	beneath it,	5	204	13	beneath it;
4	204	19	Wordsworth-quotation; no qn-marks	5	204	19	qn-marks
4	204	28	but through	5	204	28	but through ,
4	204	-6	short,	5	204	-6	short
4	204	-5	faint,	5	204	-5	faint
5	204	28	through, the	Autograph	204	28	through the
Complete	204	20	azure. No	Library	347	17	azure; no
Complete	204	22	through;-but	Library	347	19	through; but
1	186	11	will knock your head against it	3	205	7	will strike hard against it
1	186	14	of air,	3	205	9	of air;
1	186	19	"Enchanted Castle"	3	205	13	[no qn marks]
Autograph	205	4	space:	Complete	205	4	space;
3	205	17	villanous	4	205	17	villainous
4	205	17	villainous	5	205	16	villanous
1	186	24	"Marriage of Isaac"	3	205	18	[no qn marks]
1	186	-4	"Sacrifice of Isaac"	3	205	25	[no qn marks]
1	187	-2	blue. And, by the by, while we are talking of graduations of colour, look at the large	3	206	20	blue. Again, look at the large
1	188	07	Covent-garden	3	206	25	Covent Garden
1	188	17	horizon, … yellow,	3	206	-5	horizon; … yellow;
4	206	3	clear,	5	206	3	clear
4	206	9	degrees;- ... absurd;	5	206	8	degrees; ... absurd:
4	206	11	picture- ... know), ... masters-	5	206	10	picture, ... know) ... masters,
4	206	-5	three-fourths	5	206	-6	three fourths
5	206	27	observe, the	Autograph	206	27	observe the
3	206	-4	a halo	4	206	-4	the halo
4	206	-4	the halo	5	206	-4	a halo
4	207	10	transition-	5	207	10	transition,
4	207	13	Here ... Here	5	207	13	here ... here
4	207	18	bold,	5	207	18	bold
1	189	5	sun. Yet people call such an absurdity as this, "truth;" and laugh at Turner, because he paints crimson clouds! § Such bold	3	207	17	sun. §Such bold … [sentence omitted in 3 ]
1	190	2	place.* [fn]	3	208	6	place. [fn omitted in 3 ]
4	208	13	sight,	5	208	13	sight;
3	208	14	vision,	4	208	14	vision-
4	208	14	vision-	5	208	14	vision,
4	208	23	sky,	5	208	23	sky
4	208	-2	sharp edged	5	208	-2	sharp-edged
1	190	16	whiteness or mistyness	3	208	17	whiteness
4	209	1	light, ... keen edged	5	209	1	light; ... keen-edged
4	209	4	sky,	5	209	4	sky
4	209	6	sky, are ... clouds,-	5	209	6	sky are ... clouds,
4	209	8	clouds,- that these shadows are in reality ... beams,-that	5	209	8	clouds, these shadows being in reality ... beams, so that
4	209	23	itself:- [no qn-marks] ... .the orb, EXCURSION, BOOK IX	5	209	23	itself: [qn-marks] ... the orb Excursion , book ix.
4	210	23	page 192,-	5	210	23	page 192.,-
Autograph	210	-16	192.,	Complete	210	-16	192,
5	210	-15	192.,	6	210	-15	192,
6	210	-15	192,	7	210	-15	192.,
Autograph	210	-12	examples;	Complete	210	-12	examples:
4	211	12	others;	5	211	12	others:
Complete	211	12	water colour	Library	356	12	water-colour
4	211	14	spunging	5	211	14	spunging,
4	211	-6	contended with,	5	211	-6	contended with
5	211	fn1	respect of	Autograph	210	fn-1	respect o [typo]
Complete	211	fn5	Part III. Sec. II. Chap. IV. §18, Chap. V. §13.	Library	355	fn7	Part III. sec. ii. chap. iv. §18, chap. v. §13.
Autograph	211	fn-6	18.,	Complete	211	fn-6	18,
4	211	fn-4	spiky ray	5	211	fn-3	spiky rays
4	212	4	nature, all ... time,	5	212	5	nature,-all ... time
4	213	-8	traceable	5	212	-8	traceable,
4	213	-6	clouds,	5	212	-6	clouds
Complete	213	-1	partaking	Library	359	-3	partaking,
4	214	6	regions,	5	214	8	regions:
4	214	6	characters	5	214	18	characters,
4	214	18	are-first, Symmetry: They	5	214	20	are: §First, Symmetry. They
4	214	-7	other:-	5	214	-4	other:
4	214	-5	back, ... time,	5	214	-2	back ... time;
4	215	6	alone-	5	215	-3	alone;
4	215	7	multitude; ... clouds	5	215	9	multitude: ... clouds,
4	215	10	Edge:	5	215	13	Edge.
4	215	18	cirrus,	5	215	20	cirrus
4	215	21	Commonly ... other,	5	215	23	Commonly, ... other;
4	215	-13	Multitude:	5	215	-10	Multitude.
4	215	-10	symmetrical,( ... 8,)	5	215	-7	symmetrical ( ... 8.),
Autograph	215	-6	sect. 8.)	Complete	215	-6	sect.8)
4	216	5	on the Mont Blanc	5	216	8	on Mont Blanc
4	216	7	Colour: ... clouds-	5	216	10	Colour ... clouds,
4	216	8	him, and nearly all entering the ordinary ... still,-	5	216	12	him, and the greater number of those which enter the ordinary ... still,
4	216	13	aetherial	5	216	17	ethereal
4	216	20	Variety:	5	216	24	Variety.
5	216	-14	Lastly, Variety.	6	216	-15	Lastly, variety
4	216	-12	mass- ... bent- ... groups,	5	216	-8	mass,- ... bent, ... groups.-
1	191	11	light; … a very high degree.	3	209	1	light, … a high degree.
1	192	3	Retired behind the mountain tops, or veiled / By the dense air,	3	209	26	[italicised in 3 ]
1	192	7	"Dartmouth"	3	209	29	[no qn marks]
1	192	12	"Rising Sun"	3	209	34	[no qn marks]
1	193	22	light. [no fn in 1 ]	3	210	-1	light.¹ [lengthy fn added]
1	193	-8	study. Of the perfect and deeply based knowledge of such phenomena which is traceable in all the works of Turner, we shall see further instances in the following chapter.	3	211	7	study. [sentence omitted in 3 ]
1	194	1	produced by Copley Fielding, J. D. Harding, George Barret, David Cox, and one	3	211	11	produced by various members of the old Water Colour Society, and one
1	194	5	wash,	3	211	14	wash
1	195	-3	important part of the character	3	213	-7	important character
1	196	-8	symmetry: they	3	214	19	Symmetry: They
1	196	-1	side, … to it,	3	214	24	side; … to it;
1	197	1	middle, the convex side to the wind.	3	214	25	middle.
1	197	18	system,	3	215	3	system;
1	197	27	2ndly. Sharpness of edge. The	3	215	10	Secondly, Sharpness of Edge: The
1	198	9	3rd. Multitude. The	3	215	25	Thirdly, Multitude: The
1	198	20	undulation	3	215	-4	undulation,
1	198	-6	4th. Purity of colour. The	3	216	7	Fourthly, Purity of Colour; The
1	199	8	are the most pure … the most unsullied and perfect of all clouds.	3	216	18	are more pure … less sullied than those of any other clouds.
1	199	11	Variety.	3	216	21	Variety:
4	217	15	gallery	5	217	19	Gallery
3	217	22	something (I do not say much, but certainly something) to be	4	217	22	something to be
4	217	-10	"Excursion" ... alluded to:- [qn-marks round poetry]	5	217	-10	Excursion ... alluded to ?- [no qn-marks]
4	217	-12	the orb,	5	217	-8	the orb
4	217	-5	fire,-	5	217	-1	fire-
Autograph	217	-8	the orb	Complete	217	-8	the orb,
Complete	217	-8	orb,	Library	363	11	orb
Complete	217	-5	aloft-and wide:	Library	363	14	aloft, and wide:
Complete	217	-4	clouds,/Ere we, who saw, of change were conscious, pierced/ Through their ethereal texture, had become/…fire-…poised,/	Library	363	15	clouds,/ Through their ethereal texture pierced- ere we,/who saw, of change were conscious- had become/…fire;…poised,-/
6	218	8	this;	7	218	10	this,
Complete	218	8	Repeated,	Library	363	26	Repeated;
4	218	19	[no qn-marks]	5	218	12	[qn-marks]
4	218	20	white ... clouds,	5	218	24	white, ... clouds
5	218	27	At other	Autograph	218	27	[indented] At other
4	218	-7	Temeraire	5	218	-4	Téméraire
6	218	-7	Temeraire:	7	218	-4	Temeraire;
1	201	18	"Shylock;"	3	218	17	[no qn mark]
1	201	-9	"Mercury and Argus;"	3	218	-12	[no qn mark]
1	201	-5	"Acro-Corinth;"	3	218	-8	[no qn mark]
1	201	-3	"Temeraire;"	3	218	-7	[no qn mark]
1	201	-1	"Napoleon."	3	218	-5	[no qn mark]
4	219	3	sky,	5	219	6	sky
5	219	4	Rogers's Poems ¹ ,	Autograph	219	4	Rogers's Poems, ¹
3	219	8	masses,	4	219	8	masses;
4	219	12	express it in.	5	219	15	express them in.
4	219	fn3	plates,( ... only,)	5	219	fn3	plates( ... only)
4	219	-3	chariot-and-four	5	220	1	chariot and four
Complete	219	14	hair's breath	Library	365	8	hair's-breath
1	202	24	sky,	3	219	16	sky;
1	203	18	more? And yet you will say that these men painted nature, and that Turner does not!	3	220	3	more? [sentence omitted in 3 ]
1	203	20	this great artist	3	220	4	Turner
3	220	13	sunbeam,	4	220	13	sunbeam-
4	220	13	sunbeam-	5	220	16	sunbeam,
4	220	15	193	5	220	18	193.
6	220	15	193,	7	220	18	193.
1	203	-5	"Alps at Daybreak"	3	220	15	[no qn marks]
3	220	16	edges,	4	220	16	edges;
Complete	220	16	sunbeam,	Library	366	20	sunbeam;
5	220	18	page193.	6	220	15	page193,
Autograph	220	18	page 193.	Complete	220	18	page 193
4	221	6	sky,( ... case,)	5	221	9	sky( ... case),
4	221	9	flat,	5	221	12	flat
4	221	-16	before,	5	221	-13	before
Autograph	221	-13	(Sec.I/ Chap.II.);	Complete	221	-13	(§7 of this chapter);
4	221	-10	sunset, ... together;	5	221	-7	sunset ... together.
4	221	-5	another, ... under-side ... .gold; ... into	5	221	-2	another ... underside ... gold: ... .into,
4	221	-1	feeble; and	5	222	4	feeble. And
4	222	7	masters- ... be-	5	222	10	masters,- ... be,-
4	222	12	more,	5	222	16	more;
4	222	18	information,	5	222	22	information
4	222	-10	beautiful;	5	222	-10	beautiful:
6	222	-10	beautiful;	7	222	-10	beautiful:
6	222	-7	whatsoever;	7	222	-7	whatsoever,
4	222	-4	predecessors; how	5	222	-4	predecessors. How
4	222	-1	contemplation.	5	222	-1	contemplation!
Autograph	223	-	representation	Complete	223	-	representation,
4	223	15	Cuyp,	5	223	15	Cuyp
4	223	-5	and on canvass,	5	223	-5	and, on canvass,
Autograph	224	-	Poussin	Complete	224	-	Poussi n [typo]
Autograph	224	6	glazed with	Complete	224	6	touched with
4	224	9	purposes- ... under ...	5	224	10	purposes, ... under,
6	224	11	nine-pins,	7	224	11	nine-pins
4	224	16	then	5	224	17	then,
5	224	18	outlines, we	Autograph	224	18	outlines we
5	225	19	spot; increase	Autograph	225	19	spot: increase
4	226	20	jag,	5	226	22	jag
4	226	-8	inequality- ... symmetry-	5	226	-6	inequality, ... symmetry,
4	227	1	end;-	5	227	4	end;
4	227	7	despatch. But	5	227	11	despatch: but
4	227	11	have not	5	227	14	have not,
4	227	16	159	5	227	19	159.
6	227	18	159,	7	227	-19	159.
5	227	19	159.	6	227	18	159,
Autograph	227	19	159.	Complete	227	19	159
4	227	23	feeling,- ... them,-	5	227	26	feeling; ... them;
4	227	-4	No.220	5	228	2	No.220.
4	227	-1	No.212,	5	228	4	No.212.
6	228	1	220,	7	228	2	220.
5	228	2	No.220.	6	228	1	No.220,
Autograph	228	2	220.	Complete	228	2	220
6	228	3	212,	7	228	4	212.
5	228	4	No.212.	6	228	3	No.212,
Autograph	228	4	212.	Complete	228	4	212
4	228	18	cloud, ... masters, ... sky;	5	228	22	cloud; ... masters ... sky,
Complete	228	21	less	Library	376	-6	less,
4	228	-15	composite it,	5	228	-11	compose it
4	228	-8	angle	5	228	-4	angle,
Autograph	228	-3	3000	Complete	228	-3	3,000
4	228	-1	ranges-	5	229	5	ranges
1	204	-11	"Havre,"	3	221	03	[no qn marks]
1	205	17	absurd as vain to point it out fully in each case,	3	221	25	absurd to insist on it in each case,
1	205	-7	graduation,	3	221	-1	gradation,
1	207	-4	are scarcely	3	223	-8	are comparatively uninteresting, scarcely
1	208	1	the old masters.	3	223	-4	the Dutch masters.
1	208	-4	so much solid bodies borne irregularly before the wind, as they are the wind itself, rendered visible in parts of its progress by a fall of temperature in the moisture it contains. Thus	3	224	24	so much local vapour,as vapour rendered locally visible by a fall of temperature. Thus
1	209	3	same channel on its flanks,	3	224	27	same track upon its flanks,
1	209	23	above it. What in such cases	3	225	7	above it. [16 lines added in 3 ] What in such cases
1	209	26	whatsoever,	3	225	24	whatsoever;
1	209	-2	composed:	3	225	-6	composed;
1	211	16	but it is false. I do not intend … [11 lines] … nay, I do not take upon me	3	227	2	but it is false. I do not take upon me
1	212	9	Italian masters,	3	227	19	Italian masters of the seventeenth century,
1	212	15	sat down contented in their studies, to flourish away again and again, with perpetual	3	227	24	sat down in their studies, contented with perpetual
1	212	24	ropy … sacrifice of Isaac	3	227	-7	ropy, … Sacrifice of Isaac
1	212	24	ropy tough-looking wreath in the sacrifice of Isaac,	2	212	24	ropy, tough-looking wreath in the "Sacrifice of Isaac,"
1	212	-9	is which:	3	227	-2	is which;
1	212	-7	the attributed Nicholas Poussin	3	227	-2	the so-called Nicholas Poussin
1	212	-8	is which:	2	212	-8	is which;
1	212	-6	right hand	3	228	1	right-hand
1	212	-6	right hand	2	212	-6	right-hand
1	213	6	cloud,	3	228	9	cloud;
1	213	18	sky,	3	228	19	sky;
1	213	24	earth,	3	228	24	earth;
1	213	-8	minute,	3	228	-9	minute;
Autograph	229	-	feature.	Complete	229	-	feature,
3	229	2	cloudy sky	4	229	2	clouded sky
4	229	2	sky,	5	229	6	sky
1	214	6	observer,	3	229	3	observer
4	229	6	sky,	5	229	10	sky
4	229	-14	artist	5	229	-9	artist,
4	229	-11	parallelopiped	5	229	-6	parallelepiped
4	229	-4	when ... nature-	5	230	2	when, ... nature,
5	229	23	aërial	Autograph	229	23	aerial
Complete	229	-15	aerial	Library	378	2	aërial
1	214	11	tnewty [typo]	3	229	7	twenty
1	214	21	miles,	3	229	15	miles;
1	215	17	into one round dumpling	3	230	5	into one round mass
1	215	27	exception.	3	230	14	exception.¹ [fn: Here I include even the great ones – even Titian and Veronese, - excepting only Tintoret and the religious schools.
1	216	2	bodies,	3	230	24	bodies
1	216	6	nice smooth paint … "nature."	3	230	26	smooth paint … nature.
4	230	3	shade,-	5	230	8	shade;
4	230	9	is not- ... falsehood:	5	230	13	is not: ... falsehood;
4	230	-13	look- ... perhaps;	5	230	-9	look; ... perhaps:
5	230	27	perhaps: they	Autograph	230	27	perhaps; they
3	230	-2	will for	4	230	-2	will, for
4	230	fn1	ones-even Titian and Veronese,-excepting only Tintoret and the religious schools.	5	230	fn1	ones, even Titian and Veronese.
4	231	14	mass-	5	231	17	mass,-
5	231	24	aërial	Autograph	231	24	aerial
Complete	231	-14	aerial	Library	380	16	aërial
4	232	10	thoughts-fifty aisles ... blue- ... hills-	5	232	13	thoughts; fifty aisles, ... blue; ... hills,
4	232	12	their own	5	232	15	its own
1	216	22	let him go to Claude, to Berghem, to Cuyp, or to Poussin,and ask	3	231	5	let him go to Claude, to Salvator, or to Poussin, and ask
1	217	10	winds. Stulz could not be more averse to the idea of being ragged .	3	231	26	winds. [sentence omitted in 3 ]
1	217	23	masses,	3	231	-2	masses;
1	218	-	"Babylon."	3	232	-	[no qn marks]
1	217	-4	similar dumplings	3	232	8	similar masses
1	218	14	nature,	3	232	23	nature;
1	218	23	"Babylon"	3	232	-6	[no qn marks]
1	219	-	"Pools of Solomon."	3	233	-	[no qn marks]
4	233	4	white, ... throughout	5	233	7	white ... throughout,
4	233	7	Gradually ... ceases; you ... begins- ... still,-	5	233	11	Gradually, ... ceases. You ... begins, ... still;
3	233	8	ceases,	4	233	8	ceases;
4	233	12	its body,	5	233	16	its body
3	233	13	wind, ... upon it,	4	233	13	wind; ... upon it;
4	233	15	upon it;	5	233	19	upon it,
4	233	-9	zenith,	5	233	-6	zenith
5	233	32	these again,	Autograph	233	32	these, again,
1	219	21	shafts,	3	233	22	shafts;
1	219	-10	cirrus,	3	233	-10	cirrus;
1	220	1	"Pools of Solomon."	3	233	-1	[no qn marks]
1	221	-	Compared with the clouds of Backhuysen.	3	234	-	Association of the cirrostratus with the cumulus.
1	221	6	§19 [gloss] Compared with the clouds of Backhuysen.	2	221	6	§19 [gloss] Association of the cirrostratus with the cumulus.
1	220	5	hill,	3	234	3	hill
4	234	2	the other,	5	234	6	the other
3	234	4	thought,	4	234	4	thought;
3	234	7	Claude,	4	234	7	Claude;
4	234	20	character-toppling, ... change- ... enormous-	5	234	-13	character, toppling, ... change, ... enormous,
4	234	-12	transparency-	5	234	-7	transparency,
4	234	-3	frequently- ... storms-	5	235	3	frequently, ... storms,
Complete	234	16	analysed	Library	383	-4	analyzed
4	235	3	excelled-	5	235	8	excelled;
4	235	6	vastness,	5	235	11	vastness
4	235	17	225	5	235	22	225.
Complete	235	22	vide	Library	385	10	vide
6	235	-18	225),	7	235	-16	225.),
5	235	-16	page225.),	6	235	-18	page225),
Autograph	235	-16	225.	Complete	235	-16	225
Autograph	235	-12	introduced by	Complete	235	-12	introduced, by
4	235	-3	(§19)	5	236	3	(§19.)
1	221	26	But turn back	3	235	11	Turn back
1	221	26	But turn back	2	221	26	Turn back
1	221	-5	explained, and	3	235	17	explained (vide page 225), and
1	221	-5	explained, and	2	221	-4	explained (vide page 209), and
1	222	14	possible. But even here the great outline of the mass is terminated by severe right lines, four sides of an irregular hexagon, and the lesser cloud is peaked like a cliff. But I name	3	235	-7	possible. I name
1	222	14	possible. But even here the great outline of the mass is terminated by severe right lines, four sides of an irregular hexagon, and the lesser cloud is peaked like a cliff. But I name	2	222	14	possible. I name
1	222	18	and aetherial elasticity … indicated in spite of the most ponderous forms, and because it is as faithful as it is bold in the junction of those weighty masses with the delicate, horizontal lines of the lower air, but	3	235	-6	and elasticity … indicated through the most ponderous forms, and affords us a beautiful instance of the junction of the cirrostratus with the cumulus, of which we have just been speaking (§19), but
1	222	18	and ætherial elasticity … indicated in spite of the most ponderous forms and because it is as faithful as it is bold in the junction of these weighty masses with the delicate, horizontal lines of the lower air, but	2	222	16	and elasticity … indicated through the most ponderous forms, and affords us a beautiful instance of the junction of the cirrostratus with the cumulus, of which we have just been speaking (§19), but
1	222	-8	black,	3	236	4	black;
5	236	3	19.),	6	236	1	19).
6	236	1	(§19).	7	236	2	(§19.),
Autograph	236	3	cumulus,	Complete	236	3	cumulus
1	222	-2	without breaking their breadth	3	236	9	without taking away their breadth
3	236	9	light,	4	236	9	light
1	222	-2	without breaking their breadth	2	222	-2	without taking away from their breadth
4	236	11	constantly,-	5	236	16	constantly,
4	236	13	before us,	5	236	18	before us
4	236	-15	another- ... waves-	5	236	-10	another,- ... waves,-
4	236	-11	infinite, ... false, ... reason;	5	236	-6	infinite ... false; ... reason,
4	236	-4	on the one hand	5	237	2	on the other hand
4	236	-1	No.220	5	237	5	No.220.
Autograph	236	12	marked clearly and firmly	Complete	236	12	marked, clearly and firmly,
1	223	7	infinity ,	3	236	16	infinity ;
1	223	15	waves,	3	236	23	waves —
1	223	19	it can very rarely be false … reason, that it is a most difficult, if not impossible thing, for	3	236	-11	it cannot be altogether false … reason; that it is impossible for
1	223	22	merely by its own resources, that is to say, by combinations of its ideas unexampled in nature. I believe the moment … and that therefore	3	236	-8	merely by its own combining resources. The moment … and therefore
1	223	27	may be all but certain … absolutely certain	3	236	-5	may be certain … certain
1	224	1	length,	3	237	4	length;
4	237	7	proportions,-	5	237	12	proportions,
5	237	5	No.220.	6	237	3	No.220,
6	237	3	220,	7	237	4	220.
Autograph	237	5	220.	Complete	237	5	220
3	237	10	for, we may be certain that	4	237	10	for, that
4	237	14	Rouen	5	237	19	Rouen
4	237	16	into which,	5	237	21	into which
4	237	-16	wreath- ... whole- analyze- ... connected, ... laws- ... tests, ... truth-	5	237	-2	analyze, ... connected ... laws; ... tests ... truth,
Autograph	237	12	proportions,	Complete	237	12	proportions, -
1	224	13	"Rouen … Hill"	3	237	14	[no qnmarks]
1	224	-4	analyse	3	237	-7	analyze
4	238	20	And therefore, ... Turner’s,.. vapour	5	238	-13	And, therefore, ... Turner’s ... vapour,
4	238	-8	p.115	5	238	-3	p.115.
6	238	-5	115,	7	238	-3	115.
4	238	-4	page 223,	5	239	3	page 223.
5	238	-3	p.115.	6	238	-5	p.115,
Autograph	238	-3	p.115.	Complete	238	-3	p.115
4	238	-1	Rialto,..Bethlehem, ... pictures,	5	239	6	Rialto ... Bethlehem ... pictures
6	239	1	223	7	239	3	223.
4	239	2	that of ... Leander,	5	239	8	those of ... Leander
5	239	3	223.	6	239	1	223
Autograph	239	3	223.	Complete	239	3	223
4	239	9	region	5	239	14	region,
4	239	12	cloud-form	5	239	17	cloud form
4	239	-9	clouds,	5	239	-4	clouds;
4	240	5	But	5	240	10	But,
4	240	6	moderns	5	240	11	moderns. ¹ [fn added: I had forgotten, or little observed, when I wrote this, the elaborate cumuli in many of Linnell’s best pictures; and I think that among our rising artists there may now (1851) be traced signs of rapidly increasing care in studies of skies. There was a very beautiful group of cirri in a picture by a Mr. Dawson in the British Institution of this year, a study on the River Trent at sunset.]
4	240	7	Stanfield	5	240	12	Stanfield,
6	240	9	moderns, ¹	7	240	11	moderns ¹ ,
5	240	11	moderns ¹ ,	Autograph	240	11	moderns, ¹
4	240	-3	mislead-to hurt ... feelings, ... them,	5	240	-2	instead, to hurt ... feelings ... them
4	241	7	Himaleh	5	241	7	Himalaya
6	241	8	clouds, ¹	7	241	8	clouds ¹ ,
5	241	8	clouds ¹ ,	Autograph	241	8	clouds, ¹
5	241	13	aërial	Autograph	241	13	aerial
Complete	241	-7	aerial	Library	393	-8	aërial
6	241	-6	palpitating:	7	241	-6	palpitating;
Complete	241	fn3	8,000 and 9,000 feet	Library	393	fn3	8000 and 9000 feet
4	241	fn4	compared to	5	241	fn4	compared with
1	225	5	Turner,	3	238	1	Turner;
1	225	-11	infinity, ending, as in the works of one of our artists most celebrated for sublimity of conception, (the general admiration of whose works, however ill-founded, I can perfectly understand, for I once admired them myself,) in morbid and meaningless tautology. And	3	238	19	infinity. [omitted in 3 ] And
1	226	1	air,	3	238	25	air;
1	226	14	"Voyage of Columbus"	3	238	-2	[no qnmarks]
1	226	15	"Moonlight under the Rialto"	3	238	-1	[no qnmarks]
1	226	16	"Bethlehem" … "Pyramids"	3	239	1	[no qnmarks]
1	226	18	"Hero and Leander" … "Flight into Egypt"	3	239	2	[no qnmarks]
1	226	23	"Folkestone"	3	239	7	[no qnmarks]
1	226	-8	refined,	3	239	12	[no qnmarks]
1	227	5	painters,	3	239	22	painters
1	227	-4	incomparably superior	3	240	8	superior
1	230	4	palpitating,	3	241	-2	palpitating;
1	230	13	outline even on the more subdued lights	3	242	7	outline on the lights
4	242	6	illumined, which is of a brown,	5	242	6	illumined, such part being of a brown,
4	242	11	sulphureous	5	242	12	sulphorous
5	242	1	aërial	Autograph	242	1	aerial
Autograph	242	1	aeriel	Complete	242	1	aerial
Complete	242	1	aerial	Library	394	1	aërial
3	242	18	torn;	4	242	18	torn,
4	242	-16	ordinarily, ... over it	5	242	-15	ordinarily ... over it,
4	242	-13	columns, or finges,	5	242	-12	columns or fringes
Autograph	242	-10	cloud.	Complete	242	-10	clouds.
1	230	-8	appearance	3	242	20	appearance,
1	231	11	cause it; they are the visible form of the wind itself. Every	3	242	-2	cause it. Every
4	243	3	country,	5	243	3	country
4	243	18	existence,	5	243	19	existence
4	243	24	evening; in valleys,	5	243	23	evening, in valleys
5	243	36	aërial	Autograph	243	36	aerial
4	243	-6	but ... rain-cloud,	5	243	-6	but, ... rain-cloud
Complete	243	-2	aerial	Library	396	7	aërial
4	244	2	but everywhere-everywhere, at least, where there	5	244	2	but wherever there
4	244	6	seen ... country	5	244	6	seen, ... country,
4	244	11	art,	5	244	11	art
4	244	17	of this	5	244	17	of this,
4	244	19	veilly	5	244	20	veily
4	244	20	like it,	5	244	20	like it
4	244	-1	clouds, are,	5	245	1	clouds are,
4	245	10	notice- ... throne-	5	245	10	notice, ... throne,
4	245	12	truth, truth,	5	245	12	truth, truth
Complete	245	14	unrivalled,-	Library	398	4	unrivalled-
4	246	-8	finely-minded	5	246	-8	finely minded
4	246	-1	rain-cloud	5	246	-2	rain cloud
4	246	fn4	pendant	5	246	fn4	pendent
4	246	fn-3	best studied	5	246	-2	best-studied
5	247	3	possess;	Autograph	247	3	possess:
5	247	12	ought perhaps	Autograph	247	12	ought, perhaps
4	247	13	Jumieges	5	247	12	Jumiéges
5	247	30	pass, as	Autograph	247	30	pass as
5	247	31	sunlight ³ ;	Autograph	247	31	sunlight; ³
4	247	-13	comment-	5	247	-11	comment;
4	247	-13	at once. But there is added … [21 lines + fn1] ... to the truth. § From this picture ...	5	247	-9	at once. §From this picture ... .
Complete	247	fn1	Compare Sec I. Chap. IV. §5.	Library	401	fn1	Compare [part ii] sec.i. chap.iv. §5 [p.157].
Autograph	248	-11	glow,	Complete	248	-11	glow;
4	248	-9	sunlight-	5	248	-1	sunlight;
4	248	-3	mountains	5	248	6	mountains,
Complete	248	-3	And copse on Cruchan Ben	Library	403	15	§ And copse on Cruchan-Ben
Complete	248	-2	But here, above,	Library	403	16	But here,-above
4	248	fn1	Jumieges	5	248	-7	Jumiéges
4	248	fn8	works- ... sun-light-	5	247	fn5	works, ... sunlight,
1	232	24	everywhere	3	244	2	everywhere,
1	232	-8	country such perfect effects of mists as in	3	244	7	country effects of mist more perfect than in
1	232	12	veily	3	244	23	veilly
1	233	12	veily	3	244	23	veilly
1	233	16	ever seen,	3	244	25	ever seen;
1	233	19	perception	3	244	-10	perception,
1	233	21	direction,	3	244	-8	direction
1	233	23	matter, … hill,	3	244	-6	matter; … hill;
1	233	-6	"storms", —that	3	245	2	"storms"; and that
1	233	-3	at all, and that the result, however admirable or desirable it may perhaps, on principles hitherto undeveloped, be hereafter proved, as in all cases, and from all hands, as far as the representation of nature is concerned, something which only ought not to amuse by its absurdity, because it ought to disgust by its falsehood. Supposing	3	245	5	at all. [omitted in 3 ] Supposing
1	234	6	rain cloud	3	245	6	rain-cloud
1	234	7	Wint, the spongy breadth of Cattermole, or even	3	245	6	Wint or even
1	234	10	scorn. The works of Stanfield, here, as in all other painting, based on perfect knowledge, would enable us to illustrate almost every circumstance of storm, and should be our text book, were it not that all he has done has been farther carried by a mightier hand. But	3	245	9	scorn. [omitted in 3 ] But
1	234	-5	showers of some five or six years ago. Since that time, we fear, he has been thinking of himself, instead of nature, and has partly lost both nature and himself; but he then produced some of the most perfect and faultless passages of the external, obvious, and lower truths of the mist and the rain cloud, which art	3	245	-14	showers, of some years ago, in which he produced some of the most perfect and faultless passages of mist and rain-cloud which art
1	235	1	lower* [fn: External and obvious, as being mere truths of imitation — statements of the materials and means of nature, not of her mind.]	3	245	-1	[fn omitted in 3 ]
1	235	22	colour,	3	246	4	colour;
1	235	25	tones [fn omitted in 1 ]	3	246	7	tones. ¹ [fn: I ought here, however, to have noted another effect of the rain-cloud, which, so far as I know, has been rendered only by Copley Fielding. It is seen chiefly in clouds gathering for rain, when the sky is entirely covered with a grey veil rippled or waved with pendant swells of soft texture, but excessively hard and liny in their edges. I am not sure that this is an agreeable or impressive form of the rain-cloud, but it is a frequent one, and it is often most faithfully given by Fielding; only in some cases the edges becoming a little doubled and harsh have given a look of failure or misadventure to some even of the best studied passages; and something of the same hardness of line is occasionally visible in his drawing of clouds by whose nature it is not warranted.
1	236	1	study	3	246	8	study;
1	236	18	removed,	3	246	21	removed;
1	236	26	rain cloud	3	246	-1	rain-cloud
1	237	-	"Jumieges"	3	247	-	Jumieges
1	237	1	drawings,	3	247	9	drawings;
1	237	4	"Jumieges"	3	247	13	Jumieges
1	237	16	at once; but let it be especially offered how we have, added to all this, just where the rainbow melts away, the wreath of swift and delicate cloud-form, left in decisive light, which Fielding could only have rendered in darkness, and even then with little more than the bare suggestion of imperfect outline; while Turner has given us, in every flake, a separate study of beautiful and substantial form. But there is yet added	3	247	-13	at once. [rest omitted in 3 ] But there is added
1	237	-7	steamboat … dissipation,	3	247	-8	steam-boat … dissipation;
1	237	-1	spray-like,	3	247	-4	spray-like;
1	238	15	"Llenthony" .. "Jumieges"	3	248	9	Llanthony … Jumieges
1	238	20	storm, … light,	3	248	13	storm … light;
1	238	-1	sunlight, that hurrying,	3	248	18	sunlight — hurrying,
1	239	1	leaves … rain,	3	248	18	leaves, … rain;
1	238	fn-3	springs,	3	248	fn -5	springs;
1	239	5	crags,	3	248	-4	crags;
1	238	fn6	"Land's End"	3	248	fn6	[no qnmarks]
1	239	11	"Loch Coriskin"	3	249	1	[no qnmarks]
4	249	1	engraving-	5	248	9	engraving
Complete	249	1	Nor tree, nor plant, nor shrub, nor flower	Library	403	18	Nor tree, nor shrub, nor plant, nor flower
Complete	249	3	The wearied eye	Library	403	20	§ The weary eye
Complete	249	4	But all	Library	403	21	For all
3	249	10	in rain,	4	249	10	in rain
4	249	18	[no q-marks]	5	248	-7	[q-mark])
4	249	-3	Land’s-End;..rain-at twilight-	5	249	13	Land’s End ... rain, at twilight,
1	239	-7	"Loch Coriskin"	3	249	14	[no qnmarks]
1	240	2	heath bells	3	249	21	heath-bells
1	240	11	[title in italics]	3	249	30	[title in Roman]
1	240	18	-End", is, perhaps, a finer instance of the painting of the rain-cloud than any yet given. Taken as a whole, it is, perhaps, the noblest drawing of Turner's existing. The engraving is good, as a plate, but conveys not the slightest idea of the original. We have here clouds	3	249	-3	-End, we have clouds [rest omitted in 3 ]
4	250	1	outline- ... this-	5	249	15	outline, ... this,
4	250	3	cloud-	5	249	17	cloud;
Complete	250	6	motion, one	Library	405	3	motion-one
Complete	250	7	there, while	Library	405	4	there; and while
4	250	9	gloom, ... .colour, ... blue, ... blackness;	5	249	23	gloom ... colour; ... blue; ... .blackness:
5	250	9	phantoms	Autograph	250	9	Phantoms
Autograph	250	9	Phantoms	Complete	250	9	phantoms
4	250	14	indefinite-	5	249	-10	indefinite;
4	250	19	darkness; form- ... energy-	5	249	-5	darkness, form, ... energy,
4	250	-13	existence	5	250	3	existence,
4	250	-10	[no q-marks]	5	250	6	[q-marks]
4	250	-9	Presence ... -one	5	250	7	presence ... ,one
4	250	-8	there-	5	250	8	there,
6	250	-5	159,	7	250	-5	159.
Autograph	250	-5	159.	Complete	250	-5	159
5	250	-4	(159. Dulwich	6	250	-4	(159, Dulwich
4	251	1	picture.	5	250	16	picture
5	251	2	Salvator's, every	Autograph	251	2	Salvator's every
4	251	10	of these-	5	250	-13	of these,
4	251	11	lines;	5	250	-12	lines:
5	251	18	violently, as	Autograph	251	18	violently as
4	251	19	159 ... Turner’s,	5	250	-4	159 ... Turner’s
4	252	-15	engraving: but not the slightest of the delicate ... vapours.	5	251	-1	engraving; but of the delicate ... vapours
6	252	-8	blue;	7	252	-8	blue:
4	252	-6	For, ... saw	5	252	9	For ... saw,
4	253	5	rain-clouds,	5	252	19	rain-clouds
4	253	10	away ... snow white	5	252	-14	away, ... snow-white
Complete	253	14	hair's breadth	Library	409	4	hair's-breadth
4	253	18	deep, ... imperturbable, ... sides-	5	252	-6	deep; ... imperturbable ... sides;
6	253	-15	heaven,	7	253	-15	heaven
4	253	-10	melting	5	253	6	melting,
4	253	-4	incomplete;	5	253	11	incomplete:
Autograph	253	-2	cloud?	Complete	253	-2	cloud ?
4	253	-1	hair’s-breadth	5	253	13	hair’s breadth
4	254	6	which	5	253	20	which,
4	254	10	beautiful- ... refined- ... true ?	5	253	-14	beautiful, ... refined, ... true .
4	254	15	rain-cloud	5	253	-8	rain-cloud;
5	254	36	aërial	Autograph	254	36	aerial
4	254	-14	reefed; or ... Phocion,	5	254	3	reefed. Or ... Phocion;
4	254	-4	notice; it..sunset,	5	254	12	notice. It ... sunset;
Complete	254	-2	aerial	Library	411	9	aërial
4	255	9	passages of intermediate mystery, between	5	254	-15	passages of confusion between
4	255	16	require	5	254	-7	require,
4	255	-11	course	5	255	5	course,
1	240	-6	veil, like Fielding's rain, but	3	250	6	veil, but
1	241	-8	"Coventry"	3	250	-3	Coventry
1	242	1	other, but all	3	251	5	other, though all
1	242	1	other, but all	2	242	1	other, through all
1	242	23	same straightforward, inevitable	3	251	23	same forward, fierce, inevitable
1	242	23	same straightforward, inevitable	2	242	23	same forward, fierce, inevitable
1	242	-7	every thing	3	251	-7	everything
1	242	-6	every thing	2	242	-6	everything
1	243	18	reflection. Find me such a magnificent statement of all truths as this among the old masters, and I will say their works are worth something. But	3	252	13	reflection. [omitted in 3 ] But
1	243	18	reflection. Find me such a magnificent statement of all truth as this among the old masters, and I will say their works are worth something. But	2	243	18	reflection. But
1	243	27	a touch of repose	3	252	18	a passage of repose
1	243	27	a touch of repose	2	243	24	a passage of repose
1	243	-4	engraving;	3	252	23	engraving:
1	243	-1	islanded. [omitted in 1 ] §To	3	252	26	islanded. Engravers, indeed, invariably lose the effect of all passages of cold colour, under the mistaken idea that it is to be kept pale in order to indicate distance; whereas it ought commonly to be darker than the rest of the sky. §To
1	243	-1	islanded. §To	2	243	-5	islanded. Engravers, indeed, invariably lose the effect of all passages of cold colour, under the mistaken idea that it is to be kept pale in order to indicate distance; whereas it ought commonly to be darker than the rest of the sky. §To
1	244	02	rain cloud	3	252	-7	rain-cloud
1	244	11	into it,	3	253	1	into it;
1	244	-8	blue, … double dealing	3	253	16	blue: … double-dealing
1	244	-8	blue, … doubledealing	2	244	-8	blue: … double-dealing
1	245	03	attempting this	3	253	24	attempting this,
1	245	23	artist,	3	254	03	artist;
1	245	-2	"Gosport"	3	254	13	Gosport
1	245	-1	"Coventry"	3	254	14	Coventry
1	246	7	rain cloud, are	3	254	19	rain-cloud, is
1	246	9	"Dido and Eneas"	3	254	21	[no qnmarks]
1	246	13	reefed,	3	254	24	reefed;
1	246	15	"Phocion"	3	254	26	[no qnmarks]
1	246	18	"Ben Lomond" … shadows,	3	254	-10	[no qnmarks] … shadows;
1	246	21	"Okehampton"	3	254	-7	[no qnmarks]
1	246	23	"Llanberis"	3	254	-6	[no qnmarks]
1	246	-4	summits,	3	255	04	summits;
1	247	5	twilight,	3	255	11	twilight;
1	247	26	conquering,— that want of communication between the senses and the soul, which at once incapacitates from all real pleasure in nature, or understanding of art. Of	3	255	27	conquering. [omitted in 3 ] Of
4	256	2	breathing, ... apathy-	5	255	17	breathing ... apathy,
4	256	5	It would be [ §of 13 lines here including fn]	5	255	18	[§ omitted]
5	256	16	fold; and	Autograph	256	16	fold: and
3	256	18	storms,	4	256	18	storms;
5	256	18	outlines, which	Autograph	256	18	outlines which
4	256	-11	or that they	5	255	-12	or in order that they
4	256	-6	heads-	5	255	-7	heads,
4	256	-2	zig-zag	5	255	-3	zigzag
Complete	256	-5	vide	Library	414	8	vide
1	248	-3	improving upon it,	3	256	26	improving upon it;
4	257	5	out.- Yet, ... themselves, ... work, ... Winchelsea, can ever	5	256	4	out. Yet, ... themselves ... work ... Winchelsea, could everq
4	257	16	energy-so to speak- ... cloud, ... fold, ... horror- ... life-	5	256	15	energy, so to speak, ... clud ... fold; ... horror, ... life,
4	257	21	zig-zag	5	256	21	zigzag
5	257	26	heavens, from	Autograph	257	26	heavens from
6	257	-12	heavens,	7	257	-12	heavens
4	257	-7	are	5	256	-7	are,
4	257	-5	vide ... are	5	256	-5	vide ... are,
4	257	-1	fringe,	5	256	-1	fringe
4	258	3	foreground), or	5	257	3	foreground); or,
6	258	18	light, ¹	7	258	18	light ¹ ,
5	258	18	light ¹ ,	Autograph	258	18	light, ¹
5	258	28	sky ³ ,	Autograph	258	28	sky, ³
5	258	31	vapours ⁴ ,	Autograph	258	31	vapours, ⁴
6	258	-12	sky, ³	7	258	-12	sky ³ ,
6	258	-9	vapours, ⁴	7	258	-9	vapours ⁴ ,
5	258	fn3	not when we stand	6	258	fn3	not when when we stand
4	259	4	fields ...	5	258	4	fields, ...
4	259	10	away;	5	258	10	away,
6	259	12	fringes, ²	7	259	12	fringes ² ,
5	259	12	fringes ² ,	Autograph	259	12	fringes, ²
5	259	17	again ³ ;	Autograph	259	17	again; ³
5	259	24	hills ⁵ ,	Autograph	259	24	hills, ⁵
5	259	26	clouds ⁶ ,	Autograph	259	26	clouds, ⁶
5	259	33	purple ⁷ ,	Autograph	259	33	purple, ⁷
6	259	-14	hills, ⁵	7	259	-14	hills ⁵ ,
6	259	-12	clouds, ⁶	7	259	-12	clouds ⁶ ,
6	259	-5	purple, ⁷	7	259	-5	purple ⁷ ,
1	250	02	line,	3	257	25	line;
1	251	-9	day-break	3	259	3	daybreak
1	252	2	rivers,	3	259	11	rivers;
1	252	6	plain.* [foonote] *vignette to Milton— "Temptation on the Mountain."	3	259	14	[fn omitted in 3 ]
1	252	-1	together,	3	260	3	together;
1	253	16	snow-white,	3	260	16	snow-white
1	253	16	snow-white,	2	253	16	snow-white
4	260	2	leaves	5	259	2	leaves,
4	260	12	black	5	259	12	black
5	260	8	altar smoke up to the heaven	6	260	8	altar smoke up to the heavens
6	260	8	heavens;	7	260	8	heaven;
3	260	21	dying	4	260	21	dyeing
4	260	-2	the East	5	259	-1	the east
4	260	fn2	Mount-England series.	5	259	fn2	Mount (England series).
1	253	-5	line	3	260	-8	line;
1	253	-5	line	2	253	-5	line,
1	254	3	that; and	3	260	-2	that. And
1	254	3	that; and	2	254	3	that. And
1	253	fn2	… Antiquary.	3	260	fn2	… Antiquary. Goldau, a recent drawing of the higher order.
4	261	2	burning; ... fire;	5	260	3	burning: ... fire:
Complete	261	15	mean time	Library	420	17	meantime
4	261	-6	heaven-..canopy,-	5	260	-6	heaven, ... canopy,
4	262	2	RENDERED BY MODERN ART.	5	261	2	RENDERED BY TURNER.
4	262	12	represented:	5	261	12	represented;
5	262	41	risen. Cloudless	Autograph	262	41	risen, cloudless
4	263	8	light (the sun ... picture);	5	262	8	light, the sun ... picture;
4	263	9	picture	5	262	9	picture,
Autograph	263	15	wind	Complete	263	15	winds
Autograph	263	16	&c.	Complete	263	16	etc.
Autograph	263	17	&c.	Complete	263	17	etc.
4	263	-9	L.F..Light	5	262	-9	L.F ... Same hour. Light
4	263	-4	Kirby	5	262	-4	Kirkby
4	264	3	calm	5	263	3	calm,
Complete	264	5	Montjan	Library	423	12	Montjean
Complete	264	18	storm clouds	Library	423	26	storm-clouds
4	264	23	sun-beams,	5	263	23	sunbeams
4	264	-7	Temeraire	5	263	-7	Téméraire
4	265	8	chateau	5	264	8	château
4	265	19	rockets,	5	264	19	rockets
4	265	23	Ditto	5	264	23	Same hour
4	265	23	Heve	5	264	23	Héve
4	265	25	Ditto	5	264	25	Same hour
4	265	27	Ditto	5	264	27	Same hour
4	265	29	Ditto	5	264	29	Same hour
4	265	-2	Rialto,	5	264	-2	Rialto
4	266	6	water,	5	265	6	water
4	266	-1	truths-	5	265	-1	truths
4	267	5	masters	5	266	5	masters
4	267	8	few	5	266	8	few,
5	267	17	that, while	Autograph	267	17	that while
4	267	22	Pincian,	5	266	22	Pincian
6	267	-6	all,	7	267	-6	all;
1	254	7	burning;	3	261	2	burning[ ] ?
1	254	9	fire, … downwards	3	261	3	fire; … downwards,
1	254	9	fire, … downwards	2	254	9	fire; … downwards,
1	254	-7	canopy—	3	261	-6	canopy,—
1	254	-7	canopy-	2	254	-7	canopy,-
1	255	12	light,	3	262	11	light
1	255	12	light,	2	255	12	light
1	255	17	meantime	3	262	15	mean time
1	256	18	north-west	3	263	13	south-west
1	256	18	north-west	2	256	18	south-west
1	256	24	clouds. New moon. Dawn	3	263	21	clouds. Dawn
1	256	24	clouds. New moon. Dawn	2	256	14	clouds. Dawn
1	256	30	risen. Six o'clock, in summer, by gun from guard-ship. Sky [second column] Margate, Castle Upnor	3	263	26	risen. Sky …. Castle Upnor
1	256	30	[second column] Margate, Castle Uproar.	2	256	30	[second column] Castle Uproar.
1	256	30	risen. Six o’clock, in summer, by gun from guard-ship. Sky	2	256	26	risen. Sky
1	256	-4	rain clouds	3	263	-9	rain-clouds
1	257	24	Salt Ash	3	264	20	Saltash
1	258	12	moon high in the sky.	2	258	12	moon.
1	258	13	moon high in the sky.	3	265	7	moon.
1	258	20	New moon	3	265	17	Moon
1	258	22	New moon	3	265	18	Moon
1	258	-15	New moon	2	258	-14	Moon
1	258	-6	New moon, with mist, and lamplight.	3	265	-6	Moonlight through mist. Buildings illuminated in interior.
1	258	-6	New moon, with mist, and lamplight.	2	258	-6	Moonlight through mist. Buildings illuminated in interior.
1	258	-4	rain clouds	3	265	-4	rain-clouds
1	259	4	modification may be occasioned by …	3	266	3	modification … may occasion
1	260	7	because not one in a hundred of persons generally cognizant … because not one in a hundred, even … any thing	3	267	5	because of persons generally cognizant … because few, even … anything
1	261	7	the large masses	3	267	-2	large masses
4	268	9	action; ... of rest;	5	267	9	action, ... of rest,
3	268	17	creature,	4	268	17	creature;
4	268	17	that while	5	267	17	that, while
1	261	-3	five-and-twenty	3	268	21	five and twenty
4	269	4	wherever	5	268	4	whether [ misprint ]
4	269	8	water- ... ridge-	5	268	8	water; ... ridges;
4	269	16	districts,	5	268	16	districts
4	269	20	delta- ... hill-district-	5	268	20	delta, ... hill district,
4	269	22	plain,	5	268	22	plain
4	269	-3	instances,	5	268	-2	instances
6	270	4	Aarhorn;	7	270	4	-Aarhorn,
5	270	4	Finster-Aahorn; but	Autograph	270	4	Finster-Aahorn, but
4	270	7	facts- ... plain-	5	269	7	facts; ... plain,
4	270	13	Primary-	5	269	13	Primary:
4	270	16	Secondary-	5	269	16	Secondary:
4	270	17	Tertiary-	5	269	17	Tertiary:
5	270	19	perpendicular or	Autograph	270	19	perpendicular, or
4	270	-10	considering	5	269	-10	considering,
4	270	-3	divisions-	5	269	-3	divisions:
6	271	2	fissures;	7	271	2	fissures,
5	271	2	fissures; sometimes	Autograph	271	2	fissures, sometimes
4	271	4	Finster-Aar-horn	5	270	4	Finster-Aarhorn
5	271	9	impossibility, except	Autograph	271	9	impossibility except
5	271	20	one: and	Autograph	271	20	one; and
6	271	-18	one:	7	271	-18	one;
4	272	6	is-first,	5	271	6	is, first,
4	272	13	made up, ... summit;	5	272	13	made up; ... summit,
6	272	14	beautiful:	7	272	14	beautiful;
5	272	14	beautiful: perhaps	Autograph	272	14	beautiful; perhaps
4	272	20	by one. §Now	5	271	20	by one: and this last condition is in most cases the indication of the true geological structure; most of the central peaks being fanshaped in the arrangement of their beds. But this singular organization is usually concealed by the pyramidal cross-cleavages. It was discovered first, I believe, by De Saussure, and has of late been carefully examined and verified, though not accounted for, by the Swiss geologists. §Now
4	272	21	were giving a lecture on	5	271	-11	were lecturing on
5	272	34	aërial	Autograph	272	34	aerial
5	272	-17	striking	6	272	-17	strking [typo]
Complete	272	-4	aerial	Library	434	20	aërial
1	263	15	deep	3	269	-9	deep,
1	263	15	deep	2	263	15	deep,
1	263	18	Meyunger	3	269	-6	Meyringen
1	263	18	Meyunger	2	263	18	Meyringen
1	263	21	Eugoriens … Apennines, the	3	269	-4	Euganeans … Apennines; and the
1	263	21	Eugovians … Appenines, the	2	263	21	Euganeans … Appenines; and the
1	263	25	If what I have said has been well understood, I need now only bid the reader … the 17th page	3	269	-1	Let the reader now open … the seventeenth page
1	264	2	which I believe,	3	270	10	which, I believe,
1	264	2	which I believe,	2	264	2	which, I believe,
1	264	15	considering, first,	3	270	-10	considering first,
1	264	15	considering, first,	2	264	15	considering first,
1	265	6	central mountains are most usually … component parts	3	271	5	central peaks are usually … components
1	265	6	central mountains are most usually … component parts	2	265	6	central peaks are usually … components
1	265	8	regions.-Being	3	271	7	regions. Being
1	265	-2	these indicate very close	3	271	-5	these show close
1	265	-2	these indicate very close	2	265	-3	these show close
1	266	2	rise above those	3	271	-2	rise higher than those
1	266	2	rise above those	2	266	1	rise higher than those
1	267	22	not. It is such a concentration of Alpine truth as could only have been put together by one as familiar with these snowy solitudes as their own eagles. §In	3	273	10	not. §In [omitted in 3 ]
1	267	-5	compose,	3	273	17	compose;
1	268	4	from 12 to … to say	3	273	23	from 12,000 to … to say,
4	273	7	chance- ... composition- ... beautiful- ... straight;-	5	272	13	chance, ... compositon, ... beautiful: ... straight;
4	273	15	named	5	272	21	named,
Autograph	273	-	wan	Complete	273	-	want
Complete	273	14	cloud-like	Library	435	6	cloudlike
Complete	273	21	hill-ranges	Library	435	14	hill ranges
3	273	24	landscape,	4	273	24	landscape;
4	273	-7	climb-	5	273	1	climb,
5	273	33	but, "they	Autograph	273	33	but "they
1	273	18	splendour	3	273	-9	splendour,
6	274	-	distance.	7	274	-	distance,
4	274	4	must be,	5	273	10	must be;
4	274	8	cloudlike-..transparent	5	273	14	cloudlike;..transparent,
4	274	13	vestige ... picture	5	273	20	vestige, ... picture,
4	274	17	right,-	5	273	24	right;
5	274	25	aërial	Autograph	274	25	aerial
5	274	27	degree: the	Autograph	274	27	degree; the
5	274	31	aërialness	Autograph	274	31	aerialness
4	274	-14	nor scenes	5	273	-7	or scenes
Complete	274	-13	aerial	Library	437	16	aërial
6	274	-11	degree:	7	274	-11	degree;
Complete	274	-7	aerialness	Library	437	23	aërialness
4	274	-3	nor line	5	274	6	or line
5	275	7	aërial	Autograph	275	7	aerial
Complete	275	7	aerial	Library	438	2	aërial
5	275	9	Aërial	Autograph	275	9	Aerial
Complete	275	9	aerial	Library	438	5	aërial
4	275	19	degree;	5	274	-11	degree:
4	275	-12	attain-	5	274	-4	attain,
4	275	-11	contemptible	5	274	-3	contemptible,
4	275	-10	Claude?	5	274	-2	Claude.
4	275	-4	though	5	275	5	though,
1	269	18	nature. §But open… [1½ page long passage to] … see presently. §Although	3	274	-11	nature. §Although [omitted in 3 ]
1	271	9	for, whether it be Claude's or not, there	3	274	-3	for there
1	271	9	for, whether it be Claude’s or not, there	2	271	9	for there
1	272	8	attainment,	3	275	-11	attainment
1	272	15	to the sky	3	275	-5	to the distance
1	272	15	to the sky	2	272	15	to the distance
1	272	20	I do not consider aërial perspective as a matter … because I have known nature	3	276	1	Aërial perspective is not a matter … because nature
3	276	3	boldly too,	4	276	3	boldly, too,
4	276	5	violates-	5	275	13	violates,
4	276	14	feet, ... back,	5	275	22	feet ... back
4	276	18	form,	5	275	-12	form
4	276	22	ridges	5	275	-8	ridges,
4	276	-2	drawing of the air	5	275	7	rendering of the air
5	276	-17	3000 feet	6	276	-17	3,000 feet
6	276	-17	3,000	7	276	-17	3000
5	276	35	aërial	Autograph	276	35	aerial
Complete	276	-3	aerial	Library	439	-1	aërial
1	272	25	violates,-	3	276	5	violates-
1	272	25	violates,-	2	272	25	violates-
1	272	-8	rule,	3	276	9	rule;
1	273	10	ridges; having	3	276	22	ridges having
Autograph	277	-	transparency	Complete	277	-	transparency,
4	277	13	themselves	5	276	21	themselves,
6	277	16	through	7	277	16	hrough [typo]
6	277	18	hills:	7	277	18	hills;
5	277	18	hills: Stan-	Autograph	277	18	hills; Stan-
4	277	-8	scenery: ... distance,	5	277	1	scenery ... distance
4	277	-4	from it; and	5	277	5	from it. And
1	274	-7	from it, but commonly a little – a very little darker and more distinct on the side towards the right; and of	3	277	-4	from it; and of
3	278	1	solidity,	4	278	1	solidity;
4	278	1	but on	5	277	9	but, on
4	278	6	versa	5	277	14	versâ
4	278	9	point out ... hils,- ... . distance,	5	277	17	point out, ... hills: ... distance;
4	278	16	nature,	5	277	-14	nature:
4	278	-14	intensity	5	277	-6	intensity,
4	278	-1	haze,	5	278	8	haze;
6	278	-4	objects:	7	278	-4	objects;
6	278	-3	Sect.	7	278	-3	Sec.
Autograph	278	-3	4.,	Complete	278	-3	4,
1	275	5	right hand	3	278	5	right-hand
1	275	6	left hand … vice versa	3	278	6	left-hand … vice versa
1	275	20	speak,	3	278	18	speak;
1	275	-9	together,	3	278	25	together;
1	275	-4	character	3	278	29	character;
3	279	9	therefore wonders	4	279	9	so wonders
4	279	21	notice;	5	278	-9	notice:
4	279	-12	objects;	5	278	-4	objects:
4	279	-11	§4,	5	278	-3	§4.,
4	279	-5	doing so,	5	278	4	doing so
4	279	-1	eye. But	5	279	8	eye; but
6	279	-11	244,	7	279	-10	244.
5	279	25	aërial	Autograph	279	25	aerial
5	279	27	Gallery ¹ ,	Autograph	279	27	Gallery, ¹
5	279	29	it, there	Autograph	279	29	it; there
Autograph	279	-12	&c.,	Complete	279	-12	etc.,
Autograph	279	-10	244.	Complete	279	-10	244
Complete	279	25	aerial	Library	443	10	aërial
1	275	-1	nature,	3	279	24	nature;
4	280	2	rock. There are three trees on the Mont Saleve, about five miles from Geneva, which from the city, as they stand on the ridge of the hill, are seen defined against the sky. The keenest eye in the world could not tell them from stones. So	5	279	10	rock. So
4	280	7	ground ... and by	5	279	11	ground, ... and, by
5	280	28	aërial	Autograph	280	28	aerial
4	280	-15	distance ( ... Gallery),	5	279	-9	distance, ... Gallery,
Complete	280	-10	aerial	Library	444	-2	aërial
4	280	-1	vignette-	5	280	6	vignette,
1	277	19	eight miles	3	280	3	five miles
5	281	4	decently, drawn	Autograph	281	4	decently drawn
3	281	11	probably turning the paper	4	281	11	the paper probably being turned
4	281	-14	considered-	5	280	-8	considered,
4	281	-4	drawn. [No fn]	5	281	4	drawn. ¹ [fn added: The best snow scenes (with this only exception, that the wreaths are not drawn,) which I have ever seen are those of an almost unknown painter, Mr. Wallis (8. Cottage Grove, West Lane, Walworth). I am obliged to give his address, for his works have been again and again rejected from our exhibitions. In general, these rejections are very just; but I have known several exceptions, and this is one of the most painful.]
4	281	-2	snow-drift	5	281	6	snow drift
4	281	fn1	Chap.9,	5	281	fn2	Chap.9.
6	281	13	shade:	7	281	15	shade;
6	281	fn-6	8,	7	281	fn-5	8.
6	281	fn-1	9,	7	281	fn-1	9.
5	281	14	shade:	Autograph	281	15	shade;
5	281	fn2	8.	Autograph	281	fn2	8,
Autograph	281	fn-6	drawn,)	Complete	281	fn-6	drawn)
Autograph	281	fn-1	9.	Complete	281	fn-1	9
Complete	281	fn1	Compare Part III. Sec.I. Chap. 9 §5.	Library	446	fn1	Compare Part III. sec.i. ch.ix. §5.
1	279	3	outline,	3	281	15	outline
1	279	10	of all hills, which [passage on Harding, Fielding etc, to p280 line 18] … central summits. §Various	3	281	20	of all hills, as far as [passage in 1 replaced by 3pp on snow & Alps, to p284 line -15]…. inferior painters. §Various
4	282	1	changefulness, … exquisite,	5	281	8	changefulness; … exquisite;
4	282	6	skill	5	281	13	skill,
4	282	12	scale	5	281	19	scale,
4	282	15	shade,	5	281	22	shade
4	282	17	slightly,	5	281	24	slightly
Complete	282	9	vide	Library	447	8	vide
3	282	26	a profitable lesson truly studied to Phidias.	4	282	26	a lesson to Phidias.
4	282	-8	unintelligent	5	282	5	unintelligible
4	282	-3	illustrations	5	282	10	Illustrations
4	282	-1	anatomy. Stanfield painting only white rocks instead of snow. Turner	5	282	11	anatomy. Turner
3	283	3	slippery and very like ice;	4	283	3	slippery;
4	283	3	Glace)	5	282	14	Glace),
4	283	15	Every … carry:	5	382	-12	Every … carry . [italics]
4	283	-11	take nor indicate	5	282	-1	take nor indicate,
3	283	-3	form,	4	283	-3	form;
4	283	-3	form;	5	283	8	form:
4	283	-1	pondering	5	283	9	pondering,
4	284	1	sides ... snow	5	283	11	sides, ... snow,
4	284	7	edges of	5	283	17	edge, of
4	284	12	insist is	5	283	-13	insist is,
4	284	-6	artist;	5	284	5	artist:
4	284	-3	lately;-too	5	284	8	lately; too
4	285	5	unopened- a	5	284	-7	unopened, a
4	286	8	rare,) ... beds	5	285	8	rare), ... beds
4	286	-10	contours-one ... other-	5	285	-9	contours: one ... other;
4	286	-5	with each other	5	285	-4	to each other
4	287	13	structure-	5	286	15	structure,
4	287	-8	trees	5	286	-5	trees,
5	288	-	works;	6	288	-	works:
6	288	-	works:	7	288	-	works;
4	288	12	consistent with and obedient to	5	287	15	consistent with, and obedient to
5	288	21	precipice; while	Autograph	288	21	precipice: while
5	288	-17	precipice;	6	288	-17	precipice:
6	288	-17	precipice:	7	288	-17	precipice;
5	288	-6	developement	6	288	-6	development
4	288	-3	Loch Coriskin	5	288	1	Lake Coriskin
4	288	-2	has luckily been	5	288	2	has been
4	288	-1	reasoning or form	5	288	3	reasoning on form
Complete	289	8	And yet	Library	454	20	And yet,
4	289	9	marking by three jags	5	288	12	marking, by three jags,
4	289	16	We have	5	288	19	We have,
Autograph	289	19	220.	Complete	289	19	220
5	289	33	perhaps: but	Autograph	289	33	perhaps; but
5	289	-19	No.220.	6	289	-19	No.220
6	289	-19	220	7	289	-19	220.
6	289	-5	perhaps:	7	289	-5	perhaps;
4	289	-2	truth; there	5	289	2	truth. There
5	290	4	No.269.	6	290	4	No.269,
6	290	4	269,	7	290	4	269.
Autograph	290	4	269.	Complete	290	4	269
4	290	16	220	5	289	19	220.
4	290	-9	pourtray	5	289	-6	portray
4	290	-8	something-feathers, perhaps;	5	289	-5	something; feathers, perhaps:
4	291	1	269	5	290	4	269.
5	291	1	aërial	Autograph	291	1	aerial
Complete	291	1	aerial	Library	457	8	aërial
4	291	11	typical. Rocks with pale-brown light sides, and rich green dark sides, are a phenomenon perhaps occurring in some of the improved passages of nature among our Cumberland lakes; where I remember once having seen a bed of roses, of peculiar magnificence, tastefully and artistically assisted in effect by the rocks above it being painted pink to match; but I do not think that they are a kind of thing which the clumsiness and false taste of nature can be supposed frequently to produce; even granting that these same sweeps of the brush could, by any exercise of the imagination, be conceived representative of a dark, or any other side, which is far more than I am inclined to grant; seeing that there is no cast shadow	5	290	14	typical. There is no cast shadow
4	291	-1	landscape-painters	5	290	-8	landscape painters
4	292	-12	whatsoever,	5	291	19	whatsoever
4	292	-2	Piacenza	5	291	-9	"Piacenza"
4	293	6	crag; ... action- ... importance-	5	291	-2	crag: ... action, ... importance;
1	280	25	is not only quite beyond … men, but is exceedingly bad practice for a rising artist. §In conclusion, let us express	3	284	-9	is quite beyond … men, and is exceedingly bad practice for a rising artist; but, let us express
1	280	-2	aware of the difficulty of the subject-matter — well aware of the pain	3	285	2	aware of the pain
1	282	6	south Italy	3	286	5	South Italy
1	282	7	whatsoever	3	286	6	whatsoever,
1	283	9	rhomboidal,	3	287	3	rhomboidal;
1	284	14	insertion … inclination … defect, or	3	287	-2	insertion, … inclination, … defect or
1	284	22	boughs,	3	288	5	boughs;
1	284	-3	subjected,	3	288	15	subjected;
1	285	1	ridges, … table lands	3	288	18	ridges; … table-lands
1	285	10	inclination,	3	288	26	inclination;
1	285	-4	beneath it,	3	289	9	beneath it;
1	286	5	illustrations	3	289	15	Illustrations
1	286	9	precipice,	3	289	18	precipice;
1	286	-10	stratification,	3	289	-4	stratification;
1	286	-5	grouping, … decision,	3	290	1	grouping; … decision;
1	287	4	parallel,	3	290	8	parallel;
1	287	-9	heaven	3	290	10	heaven,
1	287	12	No.220,	3	290	16	No.220
1	287	-1	lights,	3	290	-3	lights;
1	288	2	curves, like those of a heap of broken plates and dishes, exhibiting on the whole as complete a piece of absurdity as ever human figures disgraced themselves by producing. §And yet not quite, neither, for if we go	3	290	-1	curves. §Yet if we go
1	288	23	lakes,	3	291	14	lakes;
1	288	-10	produce,	3	291	18	produce;
1	288	-6	grant,	3	291	21	grant;
1	288	-4	edge,	3	291	23	edge;
1	289	2	intention, … breadth	3	291	-7	intention; … breadth,
1	289	8	mountain-drawing	3	291	-2	mountain drawing
1	289	9	landscape-painters. [fn omitted in 1 ]	3	291	-1	landscape-painters. ¹ [fn: I have above exhausted all terms of vituperation, and probably disgusted the reader; and yet I have not spoken with enough severity: I know not any terms of blame that are bitter enough to chastise justly the mountain drawing of Salvator in the pictures of the Pitti Palace.]
1	289	23	further	3	292	11	farther
1	290	7	concave,	3	292	-10	concave;
1	290	13	peaks,	3	292	-4	peaks;
1	290	26	one half	3	293	7	one-half
1	291	13	forms only by rising out of them, seldom by indentation.	3	293	26	forms more frequently rising out of them, than by indentation.
1	291	-10	slope. [fn omitted in 1 ]	3	294	2	slope. ¹ [fn: Some terrific cuts and chasms of this kind occur on the north side of the Valais, from Sion to Briey. The torrent from the great Aletsch glacier descends through one of them. Elsewhere chasms may be found as narrow, but few so narrow and deep.]
1	291	-8	day,	3	294	4	day;
1	292	4	Glaramara ... Montagne du Coté	3	294	13	Saddlesack ... Montagne du Tacondy
4	294	-	summer, ... ravines- ... manner-	5	293	7	summer ... ravines, ... manner,
3	294	14	Tacondy	4	294	14	Taconay
4	294	14	Taconay	5	293	11	Taconaz
4	294	15	sub-divisions	5	293	16	subdivisions
4	294	-4	which	5	293	-10	which,
5	294	17	aërial	Autograph	294	17	aerial
Complete	294	17	"	Library	461	9	"
1	292	20	hollows,	3	294	-8	hollows;
1	292	26	which, … existence,	3	294	-4	which … existence;
4	295	8	character,-	5	294	2	character;
4	295	12	will-by	5	294	6	will, by
4	295	21	slope,-	5	294	15	slope;
4	295	26	Kingdom	5	294	20	kingdom
Complete	295	-11	feet	Library	462	-9	feet,
4	295	-3	and in consequence.	5	294	-9	and, in consequence,
5	296	10	(§11.)	6	296	8	(§11)
Autograph	296	10	(§11.)	Complete	296	10	(§11)
4	296	21	nor the	5	295	16	and the
Autograph	296	-14	4000 or 5000	Complete	296	-14	4,000 or 5,000
Complete	296	-14	4,000 or 5,000	Library	463	-9	4000 or 5000
4	296	-2	brambles,	5	295	-6	brambles
Autograph	297	-	&c.	Complete	297	-	etc.
5	297	5	Turner, that	Autograph	297	5	Turner that
5	297	7	power:	Autograph	297	6	power;
4	297	-3	that	5	296	-6	that,
4	298	2	sudden,	5	296	-2	sudden
4	298	10	power-knowledge	5	297	7	power: knowledge
5	298	13	half-way	Autograph	298	13	half way
4	298	19	hills,-that	5	297	16	hills; that
4	298	-10	observe	5	297	-12	observe,
4	298	-8	or independent	5	297	-9	nor independent
6	298	-5	260	7	298	-2	260.
4	298	-2	which	5	297	-4	which,
5	298	-2	260.	6	296	-5	260
Autograph	298	-2	260.	Complete	298	-2	260
4	299	12	details,-	5	298	11	details,
4	299	14	half way	5	298	13	half-way
4	299	21	to truth,	5	298	20	to, truth,
4	299	-2	260	5	298	-2	260.
1	292	-6	But	3	295	3	But,
1	292	-3	mountains,	3	295	5	mountains;
1	293	16	line,	3	295	20	line;
1	293	-9	connection,	3	295	-7	connection;
1	294	9	leaves, … sides,	3	296	9	leaves; … sides;
1	295	15	the sea,	3	297	6	the sea;
1	295	-2	breaks	3	297	24	breaks,
1	296	10	summit,	3	297	-5	summit
1	296	14	summit,	3	297	-1	summit
1	296	15	impressiveness,	3	298	1	impressiveness;
1	296	18	consequence	3	298	3	consequence,
1	297	4	other,	3	298	23	other;
1	297	-12	beyond it, … slope	3	299	2	beyond it; … slope,
1	297	-3	and finally	3	299	9	and, finally,
1	298	16	features,	3	299	24	features;
1	298	24	treatment,	3	299	-8	treatment;
1	298	-6	Gallery. We have here a mass of mountain … [continues to p.299] … pasteboard scenes. There is no detail	3	299	-1	Gallery. There is no detail [passage omitted in 3 ]
1	299	12	bottom. Now there is no doubt nor capability of dispute about such painting as this; it is the work of a mere tyro, and a weak and childish tyro, ignorant of the common laws of light and shadow; it is what beginners always do, and always have done, but what, if they have either sense or feeling, they soon cease to do. I could	3	300	2	bottom. I could [omitted in 3 ]
1	299	20	mentioned,	3	300	5	mentioned;
1	301	-1	rendered,	3	300	-10	rendered;
4	300	11	profuse, ... space-	5	299	12	profuse ... .space;
4	300	18	upon- ... England- ... South- ... rivers,-	5	299	18	upon, ... England, ... South, ... rivers,
3	300	-7	illustrations	4	300	-7	Illustrations
4	301	13	line,-	5	300	14	line,
4	301	16	expression and a fedeling about ... able, hereafter,	5	300	17	expression about ... able hereafter
4	301	18	rule-not ... compasses- ... geologist,	5	300	19	rule, not ... compasses, ... .. geologist
4	301	20	incalculable- ... understood- ... comprehended-	5	300	21	incalculable; understood; ... comprehended;
5	301	25	Nature	Autograph	301	25	nature
4	301	-10	though there is a necessity, for the perfect statement of them, of such	5	300	-8	though, for the perfect statement of them, there is a necessity of such
4	301	-9	an unison	5	300	-7	a union
4	302	14	drawing ... individuality-	5	301	16	drawing,..individuality;
5	302	30	same subjects	Autograph	302	29	same objections
5	302	32	artist, who	Autograph	302	31	artist who
5	302	33	progress, is	Autograph	302	31	progess is
4	302	-16	this- ... all-	5	301	-13	this, ... all,
4	302	-14	nature	5	301	-12	Nature
4	302	-11	will- ... must-	5	301	-7	will, ... must,
4	302	-1	Rocks of Suli	5	302	4	rocks of Suli
4	303	16	character-	5	302	20	character,
4	303	21	Ben-Venue or Ben-Cruachan	5	303	-13	Ben Venue or Ben Cruachan
4	303	-3	slight. His colour … [to end Õ 10 lines] … energy of form.	5	303	2	slight. Some of the best and most substantial renderings of the green and turfy masses of our lower hills are to be found in the drawings of Blacklock; and I am sorry not to have before noticed the quiet and simple earnestness, and the tender feeling, of the mountain drawings of William Turner of Oxford. ¹ [fn1: It is not without indignation I see the drawings of this patient and unassuming master deliberately insulted every year by the Old Water-Colour Society, and placed in consistent degradation at the top of the room, while the commonest affectations and trickeries of vulgar draughtsmanship are constantly hung on the line. Except works of Hunt, Cox, Fielding, and Finch, there are generally none in the room which desire so honourable a place as those of William Turner.
4	305	9	scenery: it	5	304	9	scenery. It
4	305	14	Appenines, ... nature,)	5	304	14	Appenines ... nature),
4	305	-3	parallelopipeds	5	304	-4	parallelepipeds
1	301	14	sweetness. It will only … [17 lines] … devotion. §I can	3	301	23	sweetness. §I can [omitted in 3 ]
1	303	23	Copley Fielding is our next greatest artist in the drawing of the inferior mountains. His mountain feeling is quite perfect; nothing can be more delicate than his perception of what is graceful in the outline, or of what is valuable in the tenderness of the aërial tone. But again, as with … hills; it is all feeling, and no drawing. As long as he keeps	3	303	3	Copley Fielding is peculiarly graceful and affectionate in his drawing of the inferior mountains. But as with … hills; as long as he keeps
1	305	3	incomplete. §Callcott's work, when he takes up a piece of hill scenery, is very perfect in all but colour. The late	3	304	5	incomplete. §The late [sentence omitted in 3 ]
1	306	7	infinitely divided	3	305	7	divided
1	306	12	Turner,	3	305	10	Turner;
1	307	5	them off, … which	3	305	-1	them off; … which,
1	307	11	seen,	3	306	5	seen;
1	307	21	last year's Academy	3	306	14	the Academy, 1842,
1	307	-2	the light,	3	306	26	the light;
1	308	6	rocks. [fn omitted in 1 ] §Again, the grand outlines … [to line 20] curvilinear. [passage omitted in 3 ] And the circular	3	306	-1	rocks. ¹ [fn of 13 lines, explaining why passage on 'angular character of rocks' omitted] [passage omitted in 3 ] §And the circular
4	306	11	angle,	5	305	10	angle;
4	306	14	the Napoleon	5	305	13	the "Napoleon"
4	306	fn2	rocks,-	5	305	fn2	rocks; not
Complete	306	4	developes	Library	475	8	develops
3	306	fn4	the inward structure which form the true characteristics of rock	4	306	fn4	the structure, which is the true characteristic of rock
6	307	5	220	7	307	7	220.
Autograph	307	5	220.	Complete	307	5	220
5	307	7	No.220. No.159.,	6	307	5	No.220 No.159,
4	307	17	landscape-painters	5	306	16	landscape painters
6	307	-18	159,	7	307	-16	159.,
Autograph	307	-18	159.,	Complete	307	-18	159,
5	307	-16	No.220. No.159.,	6	307	-18	No.220 No.159,
4	307	fn1	rocks; and the differences ... illustration; and, at present,	5	306	fn3	rocks. The difference ... illustration; at present,
4	307	fn5	access. All the account	5	306	fn7	access. The account
4	307	fn6	do not alter it	5	306	fn8	do not add to it
4	308	3	220 ... object,	5	307	7	220 ... object
4	308	19	159,	5	307	22	159.,
4	308	-13	they- ... formation	5	307	-10	they,..formation,
4	308	-3	others; but his Ischia, in the present British Institution, may be taken as a fair average example. The Botallack	5	308	1	others; but among small and easily accessible engravings, the Botallack
1	309	27	Take for instance	3	308	2	Take, for instance,
1	310	7	rock. I should be glad of other opinions upon the subject; but, on the whole, I believe that more is to be said against it botanically than geologically, and that the hypothesis most favourable to Salvator would furnish us, in this piece of drawing, with one of the finest examples existing of concentrated geological falsehood. The forms	3	308	17	rock. The forms [omitted in 3 ]
1	310	17	rock; not to speak of the blocks on the other side of the river in the same picture, whose shapeless, daubed, shadowless concavities are to the full as offensive and absurd, though not quite so ambiguous. §Let us	3	308	19	rock. §Let us [omitted in 3 ]
1	310	22	scientific	3	308	21	scientific,
1	311	1	others, for he is a man who never fails, and who is constantly presenting us with some highly-wrought example of rock truth; but his "Ischia"	3	308	-4	others; but his Ischia
4	309	10	shade,-	5	308	14	shade;
3	309	17	fissures.	4	309	18	fissures,
4	309	-15	Harding ... distances ... Stanfield,	5	308	-12	Harding, ... distances, ... Stanfield;
4	309	-11	colour. But	5	308	-8	colour: but
4	309	-10	fresh-broken,	5	308	-7	fresh-broken
4	309	-6	laborious,	5	308	-3	laborious;
4	309	-4	colour also	5	308	-1	colour, also,
Complete	309	-7	fac-simile	Library	480	11	facsimile
1	312	20	forcibly, especially in oils, where his decision of execution is very remarkable. And indeed there are few of our landscape painters, who though they may not possess the intimate and scientific knowledge of Stanfield and Harding, are not incomparably superior in every quality of drawing to every one of the old masters, though, as it is paying them but a poor compliment to say that they do not contradict nature in every particular, I should rather say, who are not intelligent, truthful, and right in all their work, as far as it goes. §Before [no fn in 1 ]	3	310	4	forcibly; but it is much to be regretted that this clever artist appears to be losing all sense of colour and is getting more and more mannered in execution, evidently never studying from nature except with the previous determination to Pynize everything. ¹ §Before [ ¹ fn of 16 lines advising Pyne on how to paint nature.]
1	313	5	rock,	3	310	18	rock;
3	310	fn6	her; and will once or twice take her gifts, without looking them in the mouth, he will	4	309	fn5	her; he will
Complete	309	fn-6	turnpike-road	Library	480	fn6	turnpike road
Complete	309	fn-1	Sec I. Chap. III. §12, 13	Library	480	fn-1	sec.i. chap.iii. §§12, 13.
5	310	3	cocurs	6	309	-2	occurs
6	310	15	other:	7	310	19	other;
5	310	19	other;	6	310	15	other:
5	310	36	line: neither	Autograph	310	34	line; neither
6	310	-17	139,	7	310	-13	139.
Autograph	310	-15	139.	Complete	310	-15	139
5	310	-13	No.139.	6	310	-17	No.139
5	310	-9	no tone contour	6	310	-13	no tone, contour
6	310	-6	line:	7	310	-2	line;
4	310	-5	lines, by ... rain,	5	309	-2	lines, caused by ... rain;
4	310	-1	occurs	5	310	3	occurs [typo]
4	310	fn1	Art Union	5	309	fn1	Art-Union
4	310	fn-4	newly-surveyed	5	309	fn-3	newly surveyed
4	310	fn-3	home, that at least three out of the four are better	5	309	fn-2	home, that any one of them is better
4	310	fn-1	12, 13, (the reference in the note ought to be to Chap. XV. §7).	5	309	fn-1	12, 13. [Parenthesis omitted]
Autograph	311	-	novice	Complete	311	-	novice.
4	311	5	fracture;	5	310	9	fracture:
4	311	20	examples, ... right,	5	310	-14	examples ... right
4	311	21	139	5	310	-13	139.
5	311	25	truths, of	Autograph	311	22	truths of
4	311	-9	them, ... disunited; ... line;	5	310	-5	them; ... disunited, ... line:
4	311	-3	shadow. All	5	311	2	shadow; all
1	313	20	clearness,	3	311	7	clearness;
1	314	10	disunited,	3	311	-8	disunited;
1	314	13	line,	3	311	-6	line;
1	314	20	shade. §Now I may point … [long passage of 1½ pages] … own way again. §Let not	3	311	-1	shade. §Let not [omitted in 3 ]
1	315	-6	landscape,	3	312	4	landscape
1	316	-6	one half	3	312	-3	one-half
4	312	1	unimportant;	5	311	5	unimportant:
4	312	4	presents,	5	311	8	presents;
4	312	4	they present us with a species	5	311	8	they furnish a species
4	312	6	way, - the	5	311	9	way, the
4	312	15	and that	5	311	18	and that,
4	312	-14	man; but ... continuation, ... intellect- to..itself-	5	311	-10	man: but..continuation ... intellect; to ... itself;
4	312	-7	unregarding-	5	311	-3	unregarding;
4	312	-4	nor endurable ... one-half	5	312	1	or endurable ... one half
6	312	-6	nearer:	7	312	-2	nearer;
5	312	36	nearer: he	Autograph	312	34	nearer; he
Autograph	312	-	latter.	Complete	312	-	latter,
3	312	-1	man,	4	312	-1	man
4	313	4	studied near nature ... do-not ... for it even	5	312	8	studied a certain kind of nature ... do; not ... for it; even
4	313	9	the "beautiful foregrounds"	5	312	13	the foregrounds
4	313	12	a pretty fair example ... error which he constantly falls into.	5	312	17	a fair example ... error into which he constantly falls.
4	313	15	water. I merely affirm that it amounts	5	312	19	water, except only that it amounts
6	313	-	ground	7	313	-	ground.
3	313	25	unchanging,	4	313	25	unchanging
4	313	-15	beyond it,	5	312	-11	beyond it
4	313	-13	unchanging	5	312	-9	unchanging,
4	313	-11	In fact, ... express, ... edges	5	312	-7	In fact ... express ... edges
1	317	-7	arrangement is precisely, in foreground, what we before saw in Claude's hills,- the impotent	3	313	-10	arrangement is the impotent
1	318	3	nature,	3	313	-4	nature;
6	314	-	edges.	7	314	-	edges,
Autograph	314	-	edges.	Complete	314	-	edges;
4	314	17	round it,	5	313	22	round it
4	314	20	one - no ... instant -	5	313	-14	one , no ... instant,
4	314	23	countless- heaving ... there- ... mouldering, ... breaking- ... master,	5	313	-11	countless; heaving ... there; ... mouldering; ... breaking; ... master
6	314	-13	2),	7	314	-8	2.),
4	314	-11	unity,	5	313	-6	unity
Autograph	314	-10	2.),	Complete	314	-10	2),
5	315	12	debris	Autograph	315	12	débris
4	315	-13	smooth, ... angle, (compare §2,)	5	314	-9	smooth ... angle (compare §2.),
4	315	-7	blocks, ... divides,	5	314	-5	blocks ... divides
4	315	-7	clear and sharp	5	314	-3	clearly and sharply
4	316	1	forms and yet throughout indicating that perfect parallelism which at once explained to us the geology of the rock, and falling into one grand mass, treated with the same simplicity of light and shade which a great portrait painter adopts in treating the features of the human face; which, though each has its own separate chiaroscuro, never disturb the wholeness and grandeur of the head, considered as one ball or mass. So here, one deep and marked piece of shadow indicates the greatest proximity of the rounded mass; and from	5	315	6	form, and yet of which one deep and marked piece of shadow indicates the greatest proximity; and from
4	316	16	truth, is	5	315	14	truth is,
5	317	13	debris	Autograph	317	11	débris
4	317	20	itself, ( ... waterfall)	5	316	19	itself ( ... waterfall),
4	317	-4	the upper fall	5	316	-5	the Upper Fall
1	318	26	lost again,	3	314	16	lost again;
1	319	12	may be,	3	314	-3	may be;
1	319	20	rock drawing	3	315	4	rock-drawing
1	319	-9	informs us	3	315	12	inform us
1	320	3	structure-the	3	315	20	structure, the
1	320	18	water,	3	315	-4	water;
1	320	-9	face, … mass,	3	316	5	face; … mass;
1	321	7	before us, … parts,	3	316	18	before us; … parts;
1	321	21	recession, … debris,	3	316	-9	recession; … debris;
1	321	-6	bed,	3	316	-1	bed;
1	322	3	structure,	3	317	7	structure
1	322	5	out. You must work and watch for this; it is not to be taught by words. §With	3	317	8	out. §With [omitted in 3 ]
1	322	19	situ as here,	3	317	18	situ , as here,
1	322	-2	lower fall	3	317	-6	Lower Fall
4	318	13	power,	5	317	13	power
3	318	15	ages,	4	318	15	ages;
4	318	18	study (and has evidently been drawn from nature), chiselled	5	317	17	study, chiselled
4	318	20	subject; ... instance,	5	317	19	subject, ... instance
4	318	26	countlessly-divided	5	317	24	countlessly divided
4	318	27	characteristic	5	317	25	characteristic,
4	318	-4	observations,	5	317	-6	observations
1	323	-8	subject,	3	318	20	subject;
1	324	1	It is done	3	318	-10	It [is] done [typo]
4	319	2	how-	5	318	1	how,
4	319	7	Mawr,	5	318	6	Mawr
4	319	-11	various	5	318	-11	various,
4	319	-5	foreground;	5	318	-6	foreground:
4	320	5	viewed,- ... objects,-	5	319	4	viewed, ... objects;
4	321	-7	unwearied,	5	320	-7	unwearied
4	321	-2	water-	5	320	-2	water,
4	322	1	meant-	5	321	1	meant,
4	322	7	itself-	5	321	7	itself;
4	322	9	transient-..motion-	5	321	10	transient,..motion,
4	322	14	below;-..partially,	5	321	14	below;..partially
4	322	21	sea;	5	321	21	sea,
4	322	-14	look first	5	321	-12	look forward
6	322	-5	thoroughly:	7	322	-3	thoroughly;
5	322	-3	thoroughly;	6	322	-5	thoroughly:
1	324	20	waterfall. §I may perhaps illustrate the particular qualities of modulation in ground, which are so remarkable in Turner, by a little bit of accidental truth in Claude. In the picture before spoken of, with the three banks, the little piece of ground above the cattle, between the head of the brown cow and the tail of the white one, is well articulated, just where it turns into shade. The difference between this and the hard edges of the banks on the left, can scarcely but be felt. §Finally	3	319	5	waterfall. §Finally [omitted in 3 ]
1	324	-6	rain.	3	319	8	rain;
1	325	1	unimportant,	3	319	13	unimportant;
1	325	4	omitting	3	319	16	admitting [typo]
1	325	16	knowledge. But if we once comprehend the excellence of the drawings, we shall find that these ideal works are little more than glorious combinations of the minor studies, combinations uniting the gathered knowledge and the disciplined thought of years. It is impossible to go into them in writing, the mind itself is lost in the contemplation of their infinity, and how shall words express or follow that which to the eye is inexhaustible? Often	3	319	25	knowledge. Often [omitted in 3 ]
1	325	26	before, … scene,	3	319	-11	before; … scene;
1	320	21	shade,	3	320	-1	shade;
1	327	8	made	3	321	7	made,
1	327	8	made	2	327	8	made,
1	328	1	To reach the	3	321	-2	To suggest the
1	328	8	But to give the forms	3	322	5	But to paint the actual play of line on the reflective surface, or to give the forms
1	328	-4	We must first state a few of the constant and most important laws [to end of chapter: these 14 pp completely reworked in 3 ]	3	322	-11	It is necessary in the outset to state briefly one or two of the optical conditions … [to end of chapter: these 14 pp completely reworked in 3 ]
4	323	6	misrepresented; it	5	322	8	misrepresented. It
3	323	9	time,	4	323	9	time;
4	323	13	fact is,	5	322	15	fact is
3	323	14	roadside	4	323	14	road-side
4	323	18	lines, of variable,	5	322	20	lines of variable
4	323	19	sky; nay, ... drain bars ... dark,	5	322	21	sky. Nay, ... drain-bars ... dark
4	323	23	you see	5	322	25	you see,
4	323	24	sky-so	5	322	26	sky. So
4	323	26	painter;	5	322	28	painter:
4	323	-7	thoroughly, ... way; ... see , that	5	322	-3	thoroughly; ... way, ... see ; - that
4	323	-2	of it,	5	323	3	of it;
5	323	-9	natural;	6	323	-12	natural:
6	323	-12	natural:	7	323	-12	natural;
4	324	1	completely, and more delicately they must be, than the real clouds above,	5	323	4	completely as the real clouds above;-
4	324	3	writing more about the matter; but	5	323	6	writing about the matter. But
4	324	5	improve it, and	5	323	8	"improve" it at home; and
4	324	10	in touching the pure, inimitable light of waves thrown loose; and	5	323	12	in reaching the pure light of waves thrown loose. And
4	324	12	sea,	5	323	15	sea;
4	324	16	water painting	5	323	19	water-painting
4	324	19	bad;	5	323	-10	bad,
4	324	23	intellect-or ... perception- ... resemblance- ... feeblest- ... . invention- ... sluggish	5	323	-10	intellect, or.. perception ... . resemblance, ... feeblest, ... ... invention, ... ... sluggish,
4	324	-10	stems	5	323	-6	stems,
4	324	-7	wool;	5	323	-3	wool:
4	325	6	sea painting	5	324	11	sea-painting
4	325	8	point is	5	324	13	point is,
4	325	9	Daguerreotype	5	324	13	daguerreotype
4	325	12	sea painting ... to: the ... conventionalism;	5	324	17	sea-painting ... to. The ... conventionalism:
4	325	-13	there, and	5	324	-7	there, and,
6	325	7	Hence	7	325	11	Hence,
3	325	-9	First:Water	4	325	-9	I.Water
4	325	-2	below	5	325	5	below,
1	325	-2	known,	3	325	-3	known;
4	326	8	depth, ... yards- ... water-	5	325	14	depths;..yards, ... water,
6	326	4	i. e.	7	326	9	i.e.
3	326	11	Second. The	4	326	11	II.The
4	326	12	visible; it	5	325	18	visible. It
4	326	18	bank -	5	325	-12	bank,
4	326	-10	course ... distances ... but	5	325	-3	course, ... distances, ... but,
3	326	-9	be seen,	4	326	-9	be seen;
4	326	-4	peculiarity;	5	326	6	peculiarity:
4	326	-1	i.e. ,	5	326	9	i.e.
4	327	3	said	5	326	13	said,
4	327	5	notice . "	5	326	14	notice . [typo]
6	327	2	increased, ¹	7	327	8	increased ¹ ,
5	327	8	increased ¹ ,	Autograph	327	7	increased, ¹
3	327	8	sky. " § I have left the passage about the white and red stripe, because it [passage omitted in 3 ]	4	327	9	sky." § A boat swinging near the quay casts an apparent shadow on the rippled water. This appearance I find to be owing altogether to the increased reflective power of the water in the shaded space; for the farther sides of the ripples therein take the deep pure blue of the sky, coming strongly dark on the pale green, and the nearer sides take the pale grey of the cloud, hardly darker than the green. " § I have left the last two paragraphs, because they
4	327	9	sky. "	5	326	18	aky. [typo]
3	327	14	Third:Clear	4	327	14	III.Clear
4	327	15	the green.	5	326	25	the bright green.
4	327	16	have left ... paragraphs,	5	326	26	have inserted ... paragraphs
4	327	21	reasons; A perfect	5	326	-6	reasons: a perfect
4	327	23	body as air	5	326	-3	body, as air,
4	327	-7	they are one	5	327	2	they form one
4	327	-5	First; Water	5	327	4	First, water
5	328	2	cooperation	Autograph	328	2	co-operation
3	328	5	daytime	4	328	12	day-time
4	328	-11	co-operation	5	328	2	cooperation
4	328	-10	bottom ... trees,	5	328	3	bottom, ... trees
6	328	-11	light:	7	328	-5	light;
4	329	5	fictitious, varnishes.	5	328	17	fictitious, of necessity
3	328	-2	Farther, of course on whatever	4	329	6	Farther, on whatever
4	329	10	reflection,	5	328	22	reflection
4	329	15	sun,	5	328	-10	sun
4	329	18	§Any	5	328	7	Any [no § ]
4	329	18	ripples,..sun, and ... spaces,	5	328	-7	ripples ... sun, and, ... .spaces
3	329	13	cast apparent shadows upon such spaces of intense force,	4	329	20	cast upon such spaces, seeming shadows of intense force,
4	329	-14	Farther [no §]	5	329	1	§ Farther
3	329	-11	with the subsequent one, which is a continuation of that already given in part, at Venice, will illustrate both	4	329	-5	with the last paragraph of that already given at Venice, illustrates both
4	329	-2	Geneva, 21st April Morning. "The sunlight	5	329	12	"Geneva, 21st April, morning. The sunlight
3	330	1	forcibly,	4	330	7	forcibly;
3	330	12	pale. The boat is at an angle of about 20 ⁰ below. Another	4	330	18	pale. Another [sentence omitted]
4	330	18	boat nearer,	5	329	-6	boat, nearer,
4	330	-4	one-half ... but	5	330	11	one half ... .but,
4	331	3	tone;	5	330	17	tone,
3	331	6	Fourth; If	4	331	11	IV. If
3	331	15	Fifth; When	4	331	20	V. When
3	331	26	light	4	331	-7	light,
4	331	-6	one-half	5	331	11	one half
4	331	-3	latine sails	5	331	13	lateen sails
4	331	-1	persons,	5	331	16	persons;
4	332	1	yet	5	331	16	yet,
4	332	3	six feeet	5	331	19	ten feet
3	332	24	Sixth; Rippled	4	332	-9	VI. Rippled
3	332	-7	Seventh; Every	4	332	-2	VII. Every
Autograph	333	-	watchfulness as	Complete	333	-	watchfulness, as
3	333	3	sky	4	333	8	sky,
3	333	5	Eight; Any	4	333	10	VIII. Any
4	333	18	until it becomes	5	332	-3	until such slope becomes
4	333	-3	knowledge; ... falsehood. With	5	333	15	knowledge ... falsehood; with
3	333	-2	criticism, the most to be contemned is that which	4	334	5	criticism, that is most to be contemned which
4	334	10	observed	5	333	-10	observed,
4	334	19	the Angel	5	333	-1	the angel
4	334	20	garden. Not, for Tintoret, the leading to the gate ... counsel; his strange .. is seen here as everywhere. Full	5	334	1	garden: not leading them to the gate ... council; the painter's strange ... cannot suffer this. Full
4	334	23	the angel	5	334	4	the angel,
4	334	28	circumstance	5	334	9	circumstance,
4	334	29	Angel	5	334	10	angel
4	334	-3	forever.	5	334	17	forever!
5	335	-8	No.83.	6	335	7	No.83,
6	335	7	83,	7	335	-19	83.
6	335	11	176,	7	335	-16	176.
6	335	-19	(113)	7	335	8	(113.)
Autograph	335	-19	83.	Complete	335	-19	83
Autograph	335	-16	176.	Complete	335	-16	176
3	335	-5	noticed ... shore	4	335	-5	noticed, ... shore,
5	335	-5	No.176.	6	335	10	No.176,
Complete	335	fn1	"Convergence of Perpendiculars"	Library	511	fn1	Convergence of Perpendiculars
6	336	-	And Canaletto	7	336	-	[gloss§18 omitted in 7 ]
4	336	1	No. 83.	5	335	20	No. 83.
4	336	3	half science	5	335	22	half-science
4	336	4	No. 176,	5	335	23	No. 176.
4	336	8	impression- ... painted-	5	335	-1	impression, ... painted,
5	336	8	(113.)	6	335	-7	(113)
Autograph	336	8	113.	Complete	336	8	113
4	336	16	(113)	5	336	8	(113.)
4	336	21	so. (Rule VII.)	5	336	13	so (Rule VII.).
Autograph	336	-16	boat	Complete	336	-16	boat,
4	336	fn-4	experiment,	5	335	fn-4	experiment;
4	337	3	nautically-disposed	5	336	12	nautically disposed
6	337	8	image:	7	337	-14	image;
4	337	19	water	5	337	5	water,
4	337	23	sky	5	337	9	sky,
5	337	23	image: it	Autograph	337	23	image; it
4	338	20	law	5	338	7	law,
6	338	-13	sides;	7	338	4	sides:
4	339	7	foundations; ... yet	5	338	-6	foundations:..yet,
4	339	8	at the early	5	338	-5	at early
5	339	6	naked, bronzed, burning limbs	6	338	-11	naked, bronzed burning limbs
5	339	4	sides; and	Autograph	339	4	sides: and
Complete	339	2	fish-baskets	Library	515	-8	fish baskets
3	339	3	colour,	4	339	10	colour;
4	339	10	colour;	5	338	-3	colour,
4	339	11	steelly	5	338	-2	steely
6	339	11	door;	7	339	-10	door
3	339	5	leaves, ... waves, ... blue,	4	339	12	leaves; ... waves;
4	339	13	goods	5	339	1	goods,
4	339	14	fish baskets	5	339	2	fish-baskets
4	339	16	fishing boats	5	339	4	fishing-boats
4	339	-1	to me	5	339	-12	to me,
5	339	27	door;	Autograph	339	27	door,
Autograph	339	-10	door,	Complete	339	-10	door;
3	339	-4	to no else [sic]	4	340	4	to few else
4	340	14	sublimity and power in	5	340	3	sublimity in
3	340	9	greater, universally,	4	340	16	greater universally,
3	340	13	water and brook scenery is also	4	340	20	water is also
5	340	-2	representation of the deluge	6	340	-18	representation of the Deluge
Complete	340	-10	water painting	Library	518	3	water-painting
4	341	3	me which	5	339	-9	me, which
4	341	8	louvre	5	339	-4	louvre,
4	341	12	profit ... else	5	340	1	profit, ... else,
4	341	16	universally,	5	340	6	universally
4	341	1	water-painting	5	340	-10	water painting
4	341	11	stripes:	5	341	1	stripes;
4	341	15	rest-	5	341	5	rest:
4	341	17	of-possibly-	5	341	7	of, possibly,
3	341	21	three plies	4	341	19	three strands
4	341	20	agreeable -	5	340	9	agreeable;
4	341	-11	natural,	5	341	17	natural
3	341	-8	one,	4	341	-10	one;
3	341	-3	grotesque and unperfect	4	341	-5	grotesque and rude
4	342	3	course,	5	341	-3	course;
Autograph	342	3	noted, whatever	Complete	342	3	noted (pp. 86, 107), whatever
4	342	14	violently.. though grandly	5	342	9	violently, though grandly.
4	342	17	water-painting	5	342	12	water painting
4	342	23	satisfactory,	5	342	18	satisfactory;
Autograph	343	-	water.	Complete	343	-	water,
1	342	1	landscape painters … least respectably and faithfully, if not beautifully.	3	343	1	landscape-painters … least suggestively, if not faithfully
3	343	1	landscape-painters	4	343	1	landscape painters
4	343	1	painters,	5	343	1	painters
4	343	3	this,	5	343	3	this
4	343	-8	simplicity-	5	343	-6	simplicity,
4	343	-4	water. De Wint is singularly powerful and certain, exquisitely bright, and informs in colour. The late John Varley produced some noble passages. I have seen, some seven years ago, works by J. Holland, which were, I think, as near perfection, as water-colour can be carried – for bona fide truth, refined and finished to the highest degree. But the power of modern artists is not brought out until they have greater difficulties to struggle with. Stand	5	343	-2	water. Stand [omitted in 5 ]
5	343	16	aërial	Autograph	343	16	aerial
Complete	343	-8	aerial	Library	528	-7	aërial
1	342	5	any thing … Canaletti	3	343	4	anything … Canaletto
1	342	-2	repose. He is a little apt to mistake the affected for the poetical. Some of his evening passages of sea shore with calm sea, are very perfect; and he is peculiarly daring and successful in the treatment of extensive rippled surface. §Hundreds	3	343	-6	repose. §Hundreds [omitted in 3 ]
4	344	4	the fall	5	343	-1	the Fall
Complete	344	4	foam globe	Library	529	8	foam-globe
4	344	8	thick -	5	344	4	thick,
4	344	8	restless,	5	344	12	restless
4	344	-5	remember- ... -	5	344	-8	remember, ... remember,
4	344	-2	mist; ... contours;	5	344	-4	mist, ... contours,
4	344	-1	contours; and unequalled in colour, except by Turner. None of our water-colour painters can approach him in the management of the variable lines of clear water over weeded rocks; but his feeling for it often leads him a little too far, and, like Copley Fielding, he loses sight of simplicity and dignity for the sake of delicacy or prettiness. His waterfalls are, however, unequalled in their way; and if he would	5	344	-4	contours, and rich in colour if he would
1	343	10	watercolour	3	344	1	water-colour
1	343	12	degree. But he has since that time produced worse pictures every year; and his fall appears irrecoverable, unless by a very strong effort and a total change of system. I need scarcely refer to the calm seas of Stanfield and Callcott; of whose excellence it is better to say nothing than little. I only wish that they both, especially the latter, would be a little less cold. But the power	3	344	2	degree. But the power [omitted in 3 ]
1	344	1	cloud, … wild water,	3	344	18	cloud; … wild water;
3	345	6	and, if	4	345	6	and if
1	345	3	I think, of all men living, and, therefore certainly, of all who ever have lived, the greatest master in the drawing [fn]Turner is an exception to all rules; and whenever I speak generally, he is to be considered as such.	3	345	13	I think, nearly unequalled in the drawing
1	345	13	truth,	3	345	20	truth;
3	345	27	accidental,	4	345	27	accidental;
4	345	-8	he has taken up a bad grey, which	5	345	22	he has employed a cold grey, which
1	346	3	fishing boats. In last year's exhibition,	3	346	4	fishing-boats. In the Exhibition of 1842,
1	346	11	it is … impressive,	3	346	10	it is, … impressive
Autograph	346	-	rapidity.	Complete	346	-	rapidity;
Autograph	346	-	character.	Complete	346	-	character;
3	346	13	breeze,	4	346	13	breeze;
4	346	13	caught	5	346	6	caught,
4	346	16	quick, ... hear, ... itself	5	346	9	quick ... hear ... itself;
1	346	20	sea-grey … six years	3	346	18	sea grey … nine years
3	346	18	right, as colour	4	346	18	right as colour
4	346	18	colour;	5	346	11	colour,
3	346	25	chiaroscuro in an exceedingly ill chosen grey. Besides, the perpetual repetition of the same idea is singularly weakening to the mind. Fielding, in all his life, can only be considered as having produced one sea picture. The others are duplicates. He ought to go to some sea of perfect clearness and brilliant colour, as that on the coast of Cornwall, or of the Gulf of Genoa, and study it sternly in broad daylight, with no black clouds nor drifting rain to help him out of his difficulties. He would then both learn his strength and add to it. § But there is one point	4	346	25	chiaroscuro. § There is indeed one point [omitted in 4 ^th edn]
4	346	-12	praise-	5	346	19	praise,
1	346	-3	Cornwall … gulf	3	346	-8	Cornwall, … Gulf
3	347	9	look,	4	347	1	look;
4	347	3	dark,	5	346	-4	dark
1	347	26	picture,	3	347	15	picture,
3	347	19	grey	4	347	11	grey;
1	347	-3	intentness,	3	347	23	intentness
3	347	23	relieve it,	4	347	15	relieve it;
3	347	-6	all. Nor is Mr Fielding without a model in art, for the Land’s End	4	347	-14	all. The Land’s End
4	347	-14	Lowestoffe	5	347	19	Lowestoft
4	347	-14	Snowstorm, ... Turner,	5	347	19	Snowstorm ... Turner
4	347	-5	work,	5	347	-9	work;
4	347	-1	Cornwall,	5	347	-5	Cornwall;
1	348	11	(in last year's Academy)	3	347	-4	(in the Academy, 1842)
4	348	6	them,	5	348	2	them;
3	348	17	own,	4	348	8	own;
4	348	-11	Fielding- ... affecting- ... and as	5	348	-13	Fielding, ... affecting; ... and, as
4	348	-2	masters- ... nature ... syllable-	5	348	-4	masters; ... nature, ... syllable;
Autograph	348	-18	sunshine	Complete	348	-18	sunshine,
1	349	16	we almost wish	3	348	-7	we wish
1	349	21	He is, we think, a little wanting	3	348	-3	He is, as we have already said, wanting
4	349	7	then,	5	349	5	then
4	349	fn2	are a little disagreeable in	5	349	fn1	are somewhat feeble in
1	349	22	to learn, what is now in his art the one thing wanting – how to conceal	3	349	1	to learn how to conceal
Autograph	350	-	water.	Complete	350	-	water
3	350	3	next thing to impossible	4	350	3	next to impossible
4	350	4	given- ... supposed -	5	350	4	given, ... supposed,
3	350	6	given, it	4	350	6	given, it,
3	350	10	III. the	4	350	10	III.-the
4	350	10	best drawn	5	350	10	best-drawn
4	350	10	III.- the	5	350	10	III., the
5	350	10	SectionII.Chapter III.,	6	350	10	Section II., Chapter III.,
6	350	10	II.,	7	350	10	II.
Autograph	350	10	Chapter III.,	Complete	350	10	Chapter IV.,
4	350	14	duck-weed ... surface,-	5	350	14	duckweed ... surface,
4	350	16	duck-weed	5	350	14	duckweed
4	350	-3	duck-weed	5	350	-3	duckweed
4	350	-1	vague,	5	350	-1	vague
4	351	2	leaves,-	5	351	2	leaves, and
4	351	6	duck-weed	5	351	6	duckweed
4	351	8	rays-	5	351	8	rays,
4	351	9	duck-weed	5	351	9	duckweed
4	351	12	float -	5	351	12	float,
4	351	15	duck-weed	5	351	15	duckweed
4	351	18	versa	5	351	18	versâ
4	351	20	pre-suppose	5	351	20	presuppose
Autograph	351	-1	&c.	Complete	351	-1	etc.
1	352	12	duckweed	3	351	6	duck-weed
1	352	26	vice versa … reflections,	3	351	18	vice versa … reflections
1	352	-8	surface, and make every body inclined to cry out – the moment they come before the picture – "Dear me, what excessively clear water!" when, perhaps, in a lowland study, clearness is not a quality which the artist	3	351	21	surface, and induce an effect of clearness which, perhaps, the artist
1	352	-1	preter-natural	3	351	25	preternatural
1	361	-9	shore. But it is only by persons who have most carefully watched the effect of a steamer's wake when she is running close by shore, that the exquisite accuracy with which all this is told and represented is at all appreciable. In the	3	351	-12	shore. In the [omitted in 3 ]
1	353	15	Hence, the right and natural effect	3	351	-2	Hence, the ordinary effect
1	353	21	light,	3	352	5	light
1	353	22	feature. And now we see wherein the peculiar glory of Turner's water-drawing consists; for it is to him only that we can look for the rendering of these high and difficult truths. If we	3	352	6	feature. If we [omitted in 3 ]
1	353	-10	his Chateau	3	352	7	Turner's Chateau
1	353	-1	reflections.	3	352	15	reflections. ¹ [10 line fn not in 1 ]
4	352	8	it is,-	5	352	9	it is,
4	352	12	down,-	5	352	12	down,
4	352	15	tell	5	352	16	tell,
4	352	19	recognize, in [typo]	5	352	20	recognize them in
5	352	11	recognize	6	352	11	recognise
5	352	21	interpret:	Autograph	352	21	interpret;
3	352	27	half will	4	352	27	half-will
4	352	fn-1	§11 ... §4	5	352	fn-1	§11. ... §4.
6	352	-20	interpret;	7	352	-19	interpret:
6	352	-15	Sect.	7	352	-14	Sec.
6	352	fn-2	§4	7	352	fn-1	§4.
Autograph	352	-14	Chap. III.	Complete	352	-14	Chap. IV
Autograph	352	fn-2	11. Of this Chapter,	Complete	352	fn-2	11 of this chapter,
Autograph	352	fn-1	4. of the first Chapter of this Section.	Complete	352	fn-1	4 of the first chapter of this section.
4	353	6	de Chede	5	353	6	de Chède
4	353	10	at Turner's Ulleswater	5	353	10	at Ulleswater
Autograph	353	10	Ulleswater,	Complete	353	10	Turner’s Ulleswater,
4	353	16	waterline	5	353	16	water-line
4	353	20	waterline	5	353	20	water-line
4	353	21	but in	5	353	21	but, in
4	353	23	the sea, - as we naturally should, - we should	5	353	23	the sea, we should
4	353	-4	intelligible;	5	353	-4	intelligible:
Autograph	354	-	image.	Complete	354	-	image,
4	354	12	other	5	354	12	other,
1	354	-6	close to us,* [fn of 9 lines omitted in 3 ]	3	353	6	close to us, [fn omitted in 3 ]
1	355	18	water;[fn] In all this reasoning, I suppose knowledge in the reader of the optical mode in which reflections are produced; otherwise it can scarcely be understood	3	353	26	water; [fn omitted in 3 ]
3	354	9	above	4	347	9	above;
1	356	23	has colour … its own … thing,	3	354	22	have colour … their own … thing
1	356	-8	left hand side	3	354	-9	left-hand side
1	356	-3	stands, rises steeply	3	354	-5	stands rises steeply
1	357	6	under this,	3	355	3	under this
4	355	2	bank,	5	355	2	bank
3	355	4	hill,	4	355	4	hill
4	355	5	see over	5	355	4	see it over
4	355	7	But this	5	355	7	Now this
4	355	9	confusion. But it now is relieved, not against	5	355	9	confusion; relieved, however, not now against
4	355	15	and it appears	5	355	15	and appearing
4	355	18	knowledge	5	355	18	knowledge,
Autograph	355	6	below)	Complete	355	6	below),
1	357	18	accordingly,	3	355	12	accordingly
3	355	21	undertake	4	355	21	undertake,
4	355	-13	gold;-	5	355	-13	gold;
1	358	9	what the exact alteration must be	3	355	-3	[italicised in 3 ]
1	358	-11	altogether impossible	3	356	14	impossible
1	358	-4	through,	3	356	19	through
4	356	10	unique-	5	356	10	unique;
3	356	23	perfection,	4	356	23	perfection;
1	359	7	[whole paragraph to line 26 extended and reworked in 3 ]	3	356	-10	[whole paragraph reworked in 3 to p 357 line –2]
3	356	-6	1843,	4	356	-6	1843;
3	356	-1	colours,	4	356	-1	colours;
3	357	4	painting,	4	357	4	painting;
5	357	8	boat which	Autograph	357	8	boat, which
3	357	9	colour,	4	357	9	colour;
4	357	12	circumstances,)	5	357	14	circumstances);
4	357	19	aqua-marine, ... truth,)	5	357	22	aqua-marine ... truth);
Autograph	358	-	&c.,	Complete	358	-	etc.,
3	358	3	show,	4	358	3	show;
1	360	4	vessels,	3	358	10	vessels;
3	358	14	smooth,	4	358	14	smooth;
3	358	21	between them,	4	358	21	between them;
4	358	-11	truth, ( ... it) but	5	358	-9	truth ( ... it), but,
3	359	3	which it separates, and which is broken in the nearer water by the general andulation and agitation caused by the boat’s wake;	4	359	3	which is separated and broken by the general andulation and agitation of the water in the boat’s wake;
4	359	8	steam-boat (whose ... hear, ... light); and	5	359	10	steam-boat, whose ... hear; ... light. And these:
3	359	11	light),	4	359	11	light);
4	359	13	these,	5	359	16	these:
4	359	19	sub-division	5	359	21	subdivision
1	361	13	wake	3	359	13	wake,
1	361	18	from it,	3	359	17	from it
3	359	20	left,	4	359	20	left;
4	359	-11	water	5	359	-9	water,
4	359	-7	Jumieges bridge, not… itself-	5	359	-5	Jumiéges bridge; not…itself,
1	361	-10	right hand	3	359	-13	right-hand
3	359	-6	on the one instance ... itself,	4	359	-6	in the one case ... itself-
Complete	359	-6	razing	Library	549	5	raising
1	362	18	mind. There is always a deep truth, which must be reasoned upon and comprehended in them before their beauty can be felt. §Of extended	3	360	7	mind. §Of extended [omitted in 3 ]
4	360	3	slight, ... incident -	5	360	5	slight ... incident;
1	362	23	illustrations	3	360	9	Illustrations
3	360	9	Derwent-water	4	360	9	Derwentwater
4	360	9	Derwentwater, ... Lomond,	5	360	12	Derwentwater ... Lomond
4	360	15	Ben-Venue	5	360	18	Ben Venue
4	360	17	woods,-	5	360	20	woods,
4	360	-4	§9.	5	361	1	§9.
6	360	-1	I	7	360	-1	I.
Autograph	360	-1	9.)	Complete	360	-1	9)
1	362	-5	destroy	3	360	17	destroy,
1	363	1	Canaletti	3	360	21	Canaletto
1	363	5	whatsoever,	3	360	24	whatsoever;
1	363	21	shadow	3	361	1	shadow,
4	361	3	of them;	5	361	7	of them,
3	361	8	and finally	4	361	8	and, finally,
4	361	16	Dryburgh, ... Scott,) and Melrose	5	361	19	Dryburgh ... Scott) and Melrose
4	361	19	attention, is	5	361	22	attention is,
4	361	-14	but being	5	361	-11	but, being
4	361	-5	words, … here … character	5	361	-3	words; … here, … character,
1	364	15	water,	3	361	26	water;
1	364	19	"Dryburgh." § Of Turner's [to p 364 line –1] forms . He never [This passage revised and extended in 3 ]	3	361	-9	Dryburgh. §But all [to p 362 line 18] forms. He never [this passage revised and extended in 3 ]
3	362	3	league beyond league	4	362	4	lying, league beyond league,
4	362	4	twilight	5	362	6	twilight,
5	362	4	the clouds;	6	362	4	the clouds:
6	362	4	clouds:	7	362	4	clouds;
4	362	9	moonlight:	5	362	11	moonlight;
4	362	10	two people sunsets…are	5	362	12	a purple sunset … is
4	362	12	browns:	5	362	14	browns;
4	362	13	1845 ... lake	5	362	15	1845, ... lake,
4	362	20	fall -	5	362	22	fall,
4	362	-13	foam -	5	362	-11	foam,
1	365	1	fall, his presence	3	362	19	fall -his presence
3	362	-9	yet the whole attention of the spectator is directed to that which it was peculiarly difficult to render, the concentric zones	4	362	-8	yet the attention of the spectator is chiefly directed to the concentric zones
1	365	-11	foam,	3	363	3	foam;
1	366	-1	again, … round,	3	363	4	again; … round;
1	365	-5	this,	3	363	8	this;
4	363	9	catenary,-	5	363	12	catenary,
3	363	13	mathematical	4	363	12	mathematical;
3	363	15	comes out; ... zone after zone	4	363	14	comes out: ... ,zone after zone,
4	363	14	thought for, that	5	363	16	thought, that
4	363	17	falls,	5	363	19	falls;
1	365	9	fall,	3	363	-13	fall;
1	366	22	remarkable,	3	363	-9	remarkable;
4	364	4	little,	5	364	7	little
4	364	-11	takes the shape	5	364	-8	takes the shape
4	364	-10	bed, never stops, is equally deep and equally swift everywhere, goes	5	364	-8	bed, goes
4	364	-3	exertion, coming down again as smoothly on the other side; the whole	5	364	-1	exertion, the whole
4	364	-1	velocity, but foamless, except in places where the form of the bed opposes itself at some direct angle to such a line of fall, and causes a breaker; so that	5	365	1	velocity, so that
1	367	9	resting places	3	364	11	resting-places
1	367	17	race-horse,	3	364	18	race-horse;
1	367	26	pool,	3	364	25	pool;
1	367	28	impetus, … deep, … every where	3	364	27	impetus … deep … everywhere
1	367	-4	leopard. The finest … [to p368 line –7] … he seizes [passage completely rewritten in 3 ]	3	364	-6	leopard; if it meet … [to p365 line 14] … Turner seizes [passage completely rewritten in 3 ]
1	369	2	mountain-torrent [no fn in 1 ]	3	365	-2	mountain-torrent ¹ [fn of 19 lines in 3 ]
4	365	8	versa	5	365	7	versâ
4	365	-3	the exclusive attribute	5	365	-5	the attribute
4	365	fn1	it is so,	5	365	fn1	it is exclusively so,
4	365	fn1	seen ... moment	5	365	fn1	seen, ... moment,
6	365	20	mountain-torrent, 1	7	365	20	mountain-torrent 1,
5	365	20	mountain-torrent ¹ ,	Autograph	365	20	mountain-torrent, ¹
3	365	fn9	giving its transparency	4	365	fn9	giving transparency
3	365	fn10	inexpressible	4	365	fn10	inimitable
4	365	fn10	smooth,	5	365	fn10	smooth
4	365	fn11	fully-developed	5	365	fn11	fully developed
4	365	fn13	made,	5	365	fn13	made;
4	365	fn-4	finely-modelled	5	365	fn-4	finely modelled
1	369	7	Tees;"	3	366	3	Tees,
4	366	1	know how far it has come, and how fiercely.	5	365	22	know it has come far and fiercely
4	366	4	Maurice,	5	366	2	Maurice
4	366	9	rain,	5	366	7	rain;
3	366	11	break or foam,	4	366	11	break,
1	369	20	vapour.* [fn] *Compare Note, Sect. III., Chap. IV., §13.	3	366	13	vapour. [fn omitted in 3 ]
3	366	15	swiftness,	4	366	15	swiftness;
3	366	-9	of all,	4	366	-9	of all;
4	367	10	torrents -	5	367	9	torrents,
4	367	11	and whose ... interrupted:	5	367	10	and that whose ... interrupted;
4	367	17	Grande,	5	367	17	Grande
5	367	18	debris	Autograph	367	18	débris
4	367	24	sea painting ... torrent	5	367	24	sea-painting ... torrent-painting
4	367	-1	thick creamy curdling overlapping massy form … foam [typo]	5	368	1	thick, creamy, curdling, overlapping, massy foam, … foam
1	370	18	basin, presenting us, in the rest of their progress, with that most difficult of all appearances for a painter to render, - a torrent descending steeply as it retires from us. Thus	3	367	5	basin. Thus [omitted in 3 ]
1	370	24	recorded, each recorded with unequalled fidelity, and each recorded exactly	3	367	7	recorded exactly
1	371	1	rocks. But it is time [to p373 line 1] The latter [major revision: 2pp expanded into 3½ in 3 ]	3	367	16	rocks. A still finer [to p370 line –7] Laugharne. The latter
4	368	9	catch	5	368	10	catch,
4	368	13	shadow;	5	368	14	shadow:
4	368	17	foam	5	368	18	foam,
5	368	1	first the	Autograph	368	1	first, the
5	368	3	; and	Autograph	368	3	; and,
3	368	23	the lie of a pattern	4	368	23	the fall of a pattern
4	368	-11	sea,-	5	368	-10	sea;
4	368	-9	sea	5	368	-6	sea,
3	368	-7	appear,	4	368	-7	appear;
3	369	11	wall, ... always;	4	369	11	wall; ... always,
4	369	13	overcome; then	5	369	16	overcome. Then
3	369	15	none	4	369	15	none,
4	369	16	beach.	5	369	18	beach?
4	369	-13	Bamborough;	5	369	-12	Bamborough:
Autograph	369	17	which shape has none,	Complete	369	17	which "shape has none,"
3	369	-8	it falls.	4	369	-8	it rises.
4	369	-1	uncomprehended,	5	370	1	uncomprehended;
4	370	4	vast- ... rest-	5	370	5	vast, ... rest;
4	370	7	curvature,	5	370	8	curvature
Autograph	370	-	sea.	Complete	370	-	sea,
3	370	23	the beach,	4	370	23	the beach;
4	370	-10	Sea	5	370	-10	sea
4	370	-2	ruin),	5	370	-2	ruin)
4	371	4	phrenzy	5	371	4	phrensy
4	371	8	given ... breadth of her masses	5	371	8	given, ... breadth, of her masses;
4	371	11	power: farther,	5	371	11	power. Farther,
Complete	371	13	water-fall	Library	564	-4	waterfall
4	371	14	line-	5	371	14	line;
4	371	18	them; and ... wind;	5	371	18	them. And ... wind:
4	371	21	surge -	5	371	21	surge,
1	373	14	lines; … sea,	3	371	6	lines, … sea
1	373	20	further	3	371	11	farther
1	374	21	roar, … similar to	3	372	6	roar; … similar to,
4	372	6	roar;	5	372	6	roar,
4	372	9	direction, - it	5	372	9	direction; it
3	372	10	breaker,	4	372	10	breaker;
4	372	10	shore, at … breaker;	5	372	19	shore, and at … breaker,
4	372	19	and vignette to Lycidas.	5	372	19	and Tantallon Castle.
4	372	20	circumstances,	5	372	20	circumstances
4	372	-14	white, vertical,	5	371	-14	white vertical
4	372	-10	given most completely in Lycidas,	5	372	-10	given in the vignette to "Lycidas";
Complete	372	15	rivers of France	Library	566	3	Rivers of France
1	375	14	is the most faithful study in existence of a sea	3	372	-7	is a study of sea
1	375	18	shore, … "Land's-End"	3	372	-4	shore; … but the Land's End,
3	373	3	confusion,	4	373	3	confusion;
3	373	6	power,	4	373	6	power;
4	373	13	this,	5	373	13	this
4	373	20	grey,	5	373	20	grey
4	373	22	deep,	5	373	22	deep
1	375	-2	the one	3	373	11	the one,
1	376	5	art, which...picture	3	373	16	art which,...picture
1	376	9	spoken,	3	373	19	spoken;
1	376	13	melody. [1½ pp added in 3 ] §Few people	3	373	22	melody. The greater … [to p374 line –3] … time. §Few people [passage omitted in 1 ]
3	373	27	coast sea,	4	373	27	coast sea;
3	374	7	of them,	4	374	7	of them;
3	374	14	of Lord Francis Egerton	4	374	14	of the Earl of Ellesmere
3	374	24	(1843) among his more radiant	4	374	24	(1843) in the midst of more radiant
4	374	-15	Recently,…appeared (1843)	5	374	-13	Recently (1843),appeared
3	374	-5	retires. It is thus of peculiar truths and value; and instructive	4	374	-5	retires. It is instructive
3	374	-1	nights,	4	375	1	nights;
4	375	5	and where ... drapery,	5	375	8	and, where ... drapery
4	375	9	each;	5	375	12	each:
4	375	fn5	foam,-	5	375	fn5	foam,
4	375	fn-1	over estimate in coast.	5	375	fn-1	over-estimate on coast sea.
4	375	-3	13),	5	376	1	13.),
6	375	20	III., Chapter IV., §13),	7	376	1	III. Chapter IV. §13.),
5	375	7	yeast ¹ ,	Autograph	375	7	yeast, ¹
5	376	1	(Section III. Chapter IV. &13.),	6	375	-1	(Section III., Chapter IV., &13)
Autograph	376	1	13.),	Complete	376	1	13),
4	376	12	1842 – the	5	376	15	1842, the
4	376	13	light	5	376	17	light,
4	376	15	never are;	5	376	18	never are:
4	376	-9	low,	5	376	-4	low
4	376	-8	deep drawn	5	376	-3	deep-drawn
4	377	14	sunlight, - and	5	377	19	sunlight, and,
4	377	-8	conception- ... word-	5	377	-8	conception, ... word,
4	377	fn6	Lowestoffe	5	377	fn5	Lowestoft
4	377	fn6	water,	5	377	fn6	water
4	377	fn9	water in violent agitation,	5	378	fn3	water under a fresh gale,
4	377	fn10	in it,- ... pier- ... shore- ... . waves-	5	378	fn4	in it: ... pier; ... shore; ... waves;
4	378	1	impressions-(	5	378	1	impressions(
6	379	4	them:	7	379	4	them;
5	379	4	them; for	Autograph	379	4	them: for
1	376	21	yeast* [fn] The yeasty waves confound and swallow navigation up [ Macbeth , Act.IV, Scene 1]	3	375	5	yeast ¹ [fn expanded into 23 lines]
1	376	-6	cataract,	3	375	12	cataract;
1	377	7	wave,	3	376	2	wave;
1	377	12	air, … left	3	376	6	air … left;
1	377	19	last year's Academy	3	376	12	the Academy, 1842
1	377	-7	But, beyond dispute, the … and therefore the noblest ever painted	3	376	21	But, I think, the … and so, the noblest certainly ever painted
1	378	7	awful,	3	376	-6	awful
1	378	16	permits them,	3	377	2	permits them;
1	378	-7	hue,	3	377	13	hue
1	379	fn-4	waves- the [four words in Greek], and winding	3	377	fn-4	waves- and winding
1	379	fn-2	waste. You may tire yourself by walking over the extent of that shore.	3	377	fn-2	waste. There is hardly one of the views of the Southern Coast which does not give some new condition or circumstance of sea.
1	380	6	labour, which,	3	379	5	labour which,
1	380	9	Among the	3	379	7	With the
1	380	-5	consists. And it is … [to p381 line 14] … complete, it is easy [19 line passage, reduced in 3 ]	3	379	13	consists. Yet we shall be less detained by the examination of foliage than by our former subjects; since where specific form is organized and complete, and the occurrence of the object universal, it is easy
1	379	1	word, is	3	379	19	word-is
1	381	15	attention or extraordinary knowledge in the reader	3	379	-4	attention in the reader
1	381	25	include palms and bananas, and every	3	380	5	include every
1	381	28	chesnut, mulbery	3	380	8	chestnut, pine, mulberry
1	382	2	remain precisely	3	380	16	remain
1	382	19	itself,	3	380	-8	itself;
4	380	7	Europe,-	5	378	7	Europe;
4	380	8	carubbe	5	378	8	carob
4	380	-15	log of the diameter	5	378	-15	log of at least the diameter
4	380	-12	under foliage	5	378	-12	under-foliage
4	380	-8	bestowed on the trunk	5	380	-8	caused in the trunk
4	380	-7	branches,	5	380	-7	branches:
5	380	7	Europe; oak,	Autograph	380	7	Europe: oak,
5	380	31	branches: it	Autograph	380	31	branches; it
3	380	-5	support, ... excrescences,	4	380	-5	support; ... excrescences
Autograph	381	-	Poussin.	Complete	381	-	Poussin,
4	381	21	one-tenth	5	381	21	one tenth
4	381	-11	parsnip	5	381	-11	parsnep
4	381	-3	wherefore- ... twig- ... . excrescence	5	381	-3	wherefore; ... twig, ... excrescence;
1	384	1	do, -hanging	3	382	2	do, hanging
1	384	3	this precious piece	3	382	3	this piece
1	384	5	Albano." This is a fine example of the general system of bough-drawing of the Italian school. It is a representation	3	382	5	Albano. This latter is a representation
1	384	15	it might prove to the mind of any man of the slightest knowledge of, or feeling for nature, the complete charlatanism	3	382	12	it ought to prove the complete charlatamism
1	384	-1	But let us … by looking at real art.	3	382	-10	Let us … by looking at the truth.
1	385	1	Turner* [fn] *Compare §12	3	382	-9	Turner [no fn in 3 ]
4	382	4	to it,-	5	382	4	to it,
4	382	9	witch- ... eagle-	5	382	9	witch, ... eagle,
4	382	11	foliage-	5	382	11	foliage,
4	382	-14	boa-constrictor	5	382	-14	boa constrictor
4	382	-8	Europe-	5	382	-8	Europe,
6	382	-	And of the Italian school	7	382	-	Italian school
1	385	3	Harding. Take	3	382	-7	Harding.- Take
3	382	-7	Harding.-Take	4	382	-7	Harding. Take
4	382	-7	25,	5	382	-7	25.
5	382	-7	plate25.	6	382	-6	plate25,
Autograph	382	-7	25.	Complete	382	-7	25
4	382	-6	the Park and the Forest	5	382	-6	"The Park and the Forest"
4	382	-4	tree,	5	382	-4	tree
4	382	-1	thickness,	5	382	-1	thickness
6	382	-6	25,	7	382	-7	25.
1	385	7	broken off,	3	382	-4	broken off
1	385	23	spray. Now this	3	383	10	spray. This
4	383	6	branches,	5	383	6	branches
4	383	9	their off-shoots	5	383	9	its off-shoots
3	383	14	evident,	4	383	14	evident
4	383	fn5	over quantity	5	383	fn5	over-quantity
1	386	2	sent off. [fn not in 1 ]	3	383	22	sent off. ¹ [fn of 8 lines].
1	386	4	"Narcissus," it sends	3	383	-9	Narcissus; it sends
1	386	5	quite as quick [typo]	3	383	-7	quite as thick
1	386	9	scientific way!	3	383	-4	scientific way.
4	384	3	spring. Where a bough divides into two equal ramifications, the diameter of each of the two is about two-thirds that of the single one, and the sum of their diameters, therefore, one-fourth greater than the diameter of the single one. Hence, if no boughs died or were lost, the quantity of wood in the sprays would appear one-fourth greater than would be necessary to make up the thickness of the trunk. But the lost boughs remove the excess, and therefore, speaking broadly, the diameters of the outer boughs put together would generally just make up the diameter of the trunk. Precision	5	384	4	spring. Precision [omitted in 5 ]
5	384	18	some more distant;	6	384	18	some more distant:
5	384	20	aërial	Autograph	384	20	aerial
Complete	384	20	aerial	Library	581	4	aërial
4	384	-9	universally ... Salvator..extremities- ... conduct-	5	384	21	universally, ... Salvator, ... extremeties; ... conduct,
6	385	2	wrong	7	385	2	wron g [typo]
4	385	4	at all	5	384	-5	at all,
Complete	385	15	tree structure	Library	582	7	tree-structure
4	385	17	or if	5	385	9	or, if
5	385	17	War: where	Autograph	385	17	War; where
5	385	30	imagination ¹ ,	Autograph	385	30	imagination, ¹
4	385	-13	palace ... War;	5	385	17	Palace ... War:
4	385	-8	palace	5	385	22	Palace
Complete	385	fn1	Sec.II. Chap. IV.	Library	582	fn1	sec.ii. chap.iv.
1	386	-9	trunk. Now mathematical precision … this	3	384	12	trunk. Precision … this,
1	387	6	of representation, twig for twig, it can only be given by	3	384	23	of definite representation; it can only be expressed by
1	387	12	works of the Italian school, that	3	384	-9	works of Claude, Gaspar, and Salvator that
1	387	24	Claude's. §But it is … [to p388 line 6] … That foreground [18 lines expanded in 3 to 2 pp]	3	385	1	Claude's, but the … [to p385 line –11] … that foreground
4	386	2	to third-rate	5	385	-5	to a third-rate
4	386	12	paintings,-	5	386	6	paintings;
4	386	14	sketches,	5	386	8	sketches
4	386	18	resemble- ... .drawing	5	386	12	resemble, ... drawing,
3	386	21	Eneas	4	386	21	Æneas
4	386	21	The windy landscape of Poussin, opposite the Dido and Æneas,	5	386	14	The landscape of Poussin with the storm, the companion to Dido and Æneas
4	386	-12	picture:	5	386	19	picture;
4	386	-9	tree-except only,	5	386	22	tree, except only
4	386	-1	Now, ... earth,	5	386	-9	Now ... earth
4	386	-1	Now, the ... [etc] ... thick.	5	386	-8	Now the ... [etc] … thick.
1	388	7	truth,	3	386	-10	truth
1	388	17	of them.-Now,	3	386	-1	of them. Now,
1	388	23	perpendicular, … or, if	3	387	5	perpendicular … or if
1	389	1	weak: … Indian-rubber	3	387	16	weak; … Indian rubber
1	389	2	rubber. §In passing … [to p391 line 2] … united effect. [2 pp rewritten and expanded to 2½ pp in 3 ]	3	387	17	rubber. §These laws … [to p389 line –5] … actual effect.
4	387	8	or if	5	386	-1	or, if
4	387	14	character	5	387	7	character,
5	387	21	Exhibition	Autograph	387	20	exhibition
Autograph	387	9	Indian rubber.	Complete	387	9	India-rubber.
3	387	23	no grateful result	4	387	23	no right result
4	387	-12	ramification	5	387	20	ramification,
4	388	1	fibre, ... study; and hence	5	387	-5	fibre ... study. And hence,
5	388	2	tree:	6	388	1	tree;
5	388	2	tree: for	Autograph	387	37	tree; for
3	388	3	another	4	388	3	another;
4	388	7	tree; ... external-	5	388	2	tree: ... external,
4	388	18	Rembrandt and Albert Durer have ... woody texture, but both miss the	5	388	13	Albert Durer has ... woody structure, but misses the
4	388	20	view and reached a higher truth, yet (as	5	388	15	view, yet (as
4	388	23	stiffness and spring about	5	388	18	stiffness about
4	388	-1	boughs	5	388	-7	boughs,
5	388	13	Durer	Autograph	388	13	Dürer
Complete	388	7	under-growth	Library	585	-5	undergrowth
4	389	5	chartreuse,	5	388	-2	chartreuse
4	389	6	particularized;	5	389	-1	particularized:
3	389	10	example,	4	389	10	example;
Complete	389	10	aerial	Library	587	5	aërial
4	389	11	simplicity ... form ... other: among…subjects	5	389	5	simplicity, ... form, ... other. Among ... subjects,
4	389	14	Kirby Lonsdale church-yard	5	389	8	Kirkby Londsdale churchyard
4	389	15	subjects	5	389	9	subjects,
4	389	19	Vignette	5	389	13	vignette
4	389	21	Chateau ... Gabrielle,	5	389	15	Château ... Gabrielle
5	389	12	aërial	Autograph	389	10	aerial
5	389	21	unique, there	Autograph	389	19	unique; there
3	389	23	every one;	4	389	23	every one;
4	389	-11	works	5	389	21	works,
1	391	3	leaves,	3	389	-4	leaves
4	390	8	another-	5	390	2	another,
4	390	12	bough,	5	390	6	bough
4	390	-15	round,	5	390	17	round:
4	390	-13	each, - and	5	390	19	each: and
4	390	-11	by the roots	5	390	22	by the stalks
4	391	3	extremeties; ... broken,	5	390	-4	extremities: ... broken
4	391	10	under sides	5	391	4	under-sides
4	391	21	effects,- ... forest;- and	5	391	15	effects, ... forest. And
1	391	8	group,	3	390	1	group;
1	391	16	group, … another,	3	390	7	group … another-
1	391	-9	with it,	3	390	18	with it;
1	391	-4	the sky:	3	390	22	the sky;
1	392	5	claw, and behold a tree!	3	390	-9	claw.
1	392	21	hollows,	3	391	5	hollows;
1	392	24	instant,	3	391	8	instant;
1	392	-8	earth,	3	391	13	earth;
1	392	-7	and in proportion	3	391	13	and, in proportion
1	393	15	fish-scales,	3	391	-8	fish-scales;
1	394	2	tree-painting,	3	392	13	tree-painting;
1	394	10	illustrations	3	392	19	illustrations,
4	392	3	down,-	5	391	-3	down;
4	392	7	tree-painters	5	392	3	tree painters
4	392	15	truth;	5	392	11	truth:
5	392	19	aërial	Autograph	392	17	aerial
Complete	392	1	tree painters	Library	591	19	tree-painters
Complete	392	17	aerial	Library	592	3	aërial
3	392	21	brook,	4	392	21	brook;
4	392	-14	grey,	5	392	19	grey
4	392	-9	presenting, as the masses of all trees do, in general outline, a	5	392	-14	presenting in general outline, as the masses of all trees do, a
3	393	10	speak, by ... parts,	4	393	10	speak-by ... parts-
4	393	10	speak- by this flat, ... parts-	5	393	6	speak, by this flat ... parts,
4	393	14	quiet,	5	393	10	quiet
4	393	18	of all,-	5	393	14	of all,
4	393	-11	seen, yet, being	5	393	20	seen, being
4	393	-1	Poussin,-	5	393	-5	Poussin,
5	393	-6	Marly	6	393	-6	Marley
5	393	25	Poussin; and	Autograph	393	23	Poussin: and
Autograph	393	-11	Marley.	Complete	393	-11	Marly.
1	395	13	Now it is	3	393	16	It is
1	395	23	yet	3	393	24	yet,
1	395	-11	broad each.* [fn] *Compare Sec.II., Chap.IV., §16	3	393	-8	broad each. [fn omitted]
1	395	-4	"Marly" [fn not in 1 ]	3	393	-2	Marly. ¹ [fn] ¹ This group I have before noticed as singularly (but, I doubt not, accidentally, and in consequence of the love of the two great painters for the same grand forms) resembling that introduced by Tintoret in the background of his Cain and Abel.
1	395	-2	repose,	3	393	-1	repose
3	394	1	these	4	394	1	these,
4	394	1	and, ... these,	5	393	-4	and ... these
Autograph	394	1	Chapter IV. §15.)	Complete	394	1	Chapter V. §15)
4	394	7	15)	5	394	3	15.)
Autograph	394	8	7.)	Complete	394	8	7)
1	396	4	pattern,	3	394	5	pattern;
3	394	12	finite,	4	394	12	finite;
4	394	14	7	5	394	10	7.)
4	394	fn6	sunshine,-	5	394	fn6	sunshine,
4	394	fn7	tree-forms	5	394	fn7	tree forms
4	394	fn-2	developed;	5	394	fn-2	developed:
1	396	16	lines,	3	394	16	lines;
1	396	-10	and in all	3	394	-4	and, in all
1	396	-7	standards. [fn not in 1 ]	3	394	-1	standards. ¹ [fn of 20 lines]
1	396	-2	species,	3	395	4	species;
1	397	5	line,	3	395	9	lines;
1	397	9	constantly,	3	395	12	constantly;
4	395	1	trees, is	5	395	2	trees is,
Autograph	395	10	if	Complete	395	10	if,
3	395	16	trees,	4	395	16	trees
4	395	fn1	and the Cephalus and	5	394	fn-4	and in the Cephalus, and
4	395	fn3	41,	5	394	fn-2	41.,
4	395	17	least,	5	395	17	least
4	395	19	line; but	5	395	20	line: but,
4	395	-6	pear,	5	395	-6	pear
4	395	-3	likes,	5	395	-3	likes;
4	395	fn-2	curve-	5	395	fn-5	curve,
5	395	23	dome, as	Autograph	395	23	dome as
1	397	16	interrupted,	3	395	18	interrupted;
1	397	-9	downmost. This then is the ideal or perfect form of a tree, that to which all approximate while few attain. The old	3	395	-6	downmost. The old [omitted in 3 ]
4	396	7	form, ... in all,	5	396	7	form … in all;
4	396	-6	industry; (in	5	396	-7	industry (in
4	396	-1	there is	5	396	-2	there are,
4	396	fn2	ramifications (only ... parables – which, ... oak- or an ellipse).	5	395	fn-2	ramifications; only … parables (which, ... oak), or an ellipse.
5	397	14	kind ² ;	Autograph	397	13	kind; ¹
4	397	16	no Royal Academician	5	397	15	no Royal Academician manner ³ [fn on PRA – four lines – added in 5 ]
5	397	17	manner ³ ;	Autograph	397	16	manner; ²
5	397	21	Society ⁴ ;	Autograph	397	20	Society; ³
4	397	-12	Society	5	397	-8	Society ⁴ [fn – one line - added in 5 ]
4	397	-11	Harding for thorough knowledge of the subject, for power	5	397	-7	Harding for power
4	397	-5	over fondness …execution,	5	397	-2	over-fondness… execution
5	397	fn-2	⁴ I …	Autograph	397	fn-2	I … [part of fn2 in auto ed]
1	398	12	moderns. The tree [to end of chapter, p 399] [one page rewritten as 6½ pp in 3 ]	3	396	10	moderns [to end of chapter, p. 402][one page in 1 rewritten as 6½ pp in 3 ]
1	397	fn-3	them,	3	396	fn-5	them
4	398	1	sketching, luxury;	5	398	4	sketching;… luxury,
4	398	4	4,)	5	398	8	4.),
4	398	8	Society,-	5	398	11	Society,
6	398	8	4.),	7	398	8	4.)
Autograph	398	6	4.)	Complete	398	6	4),
3	398	10	waterlily	4	398	10	water-lily
3	398	-13	faults, ... growth:	4	398	-13	faults: ... growth;
4	398	-13	faults:	5	398	-8	faults;
4	399	5	study to attain	5	399	10	study then any he has lately gone through, to attain
3	399	12	dangerous, that ... is not thereby to be rendered.	4	399	12	dangerous: namely, that ... is not to be rendered by the pencil.
3	399	14	whose darkness is occasioned solely	4	399	14	whose dark colour is rendered solely
4	399	15	Now, I believe,	5	399	-13	Now I believe
4	399	-8	think,	5	399	-1	think
4	399	-7	pupil, is	5	399	-1	pupil is,
4	399	fn-2	based-	5	400	fn-2	based,
3	399	fn-1	finish,	4	399	fn-1	finish
3	400	12	lose ... bark	4	400	12	lose, ... bark,
4	400	-18	subject	5	400	-7	subjects
4	400	-17	desires,	5	400	-6	desires
4	400	-13	draw	5	400	-2	draw
Autograph	400	-13	extended,	Complete	400	-13	extensive,
3	400	-9	of very great injury	4	400	-9	of which injury,
4	401	1	freshness,- above all, ... character:	5	401	13	freshness, above all … character;
4	401	8	affected. This is bitterly to be regretted, for few of our artists would paint foliage better, if he would paint it from nature, and with reverence. §Hunt	5	401	20	affected. §Hunt
4	401	11	fails, and fails only, in foliage;	5	401	21	fails in foliage, and in foliage only;
4	401	12	Daguerreotype ... over fidelity	5	401	22	daguerreotype ... over- fidelity
4	401	13	suggested;	5	401	23	suggested:
4	401	14	leaf green	5	401	24	leaf-green
4	401	15	delicious,-	5	401	25	delicious,
4	401	16	but from	5	401	26	but, from
6	401	1	The foliage of David Cox	7	401	1	his works destitute … English school.§The foliage of David Cox [paragraph from end of p400 repeated – typo]
Autograph	401	18	suggested;	Complete	401	18	suggested:
3	401	22	walls,	4	401	22	walls
4	401	-18	Kent, in the British Distribution, this year, there	5	401	-7	Kent, exhibited some years ago in the British Distribution, there
4	401	-15	purple-	5	401	-4	purple;
4	401	-3	honour. I have much pleasure in Creswick's works, and I am glad always to see them admired by others.	5	402	-1	honour. [sentence omitted in 5 ]
4	401	-1	I shall conclude ... [23 lines] ... English art	5	402	-	[Final § omitted in 5 ]
5	401	23	suggested: yet	Autograph	401	18	suggested; yet
1	400	6	because there is … [to p401 line 9] … well. It is disgraceful [one page reduced to 9 lines in 3 ]	3	403	5	because enough … [to p403 line 13] … meritorious. It is disgraceful
5	403	6	Part II. Sec. I. Chap. VII.;	6	403	6	Part II., Sect I., Chap. VII.;
6	403	6	II., Sect. I.,	7	403	6	II.Sec.I.
3	403	7	landscape-painter	4	403	7	landscape painter
4	403	-10	No. 14, ... No 30;	5	403	-10	No. 14. ... No. 30;
5	403	-10	No.14.	6	403	-10	No.14,
5	403	-9	No.30.;	6	403	-9	No.30;
6	403	-10	14,	7	403	-10	14.
6	403	-9	30;	7	403	-9	30.;
Autograph	403	-10	14.	Complete	403	-10	14
Autograph	403	-9	30.;	Complete	403	-9	30;
1	401	17	rank. There is nothing particularly	3	403	-5	Neither is there anything particularly
1	401	19	represent,	3	403	-3	represent;
1	401	-11	§I may, however, refer to what has already been said upon the subject in Sect.II. Chap. IV. § 6, 12, 13, (and note) and 14, and I may point for general illustration	3	404	3	I may, however, refer for general illustration
1	401	-8	draughtsman	3	404	4	draughtsman,
1	401	-3	parts. The "Modern Italy" may be adduced as a standard of the drawing of architectural distance. But so much of the excellence of all these pictures depends, partly on considerations of principles of beauty, not yet developed, partly on expression of local character, and systematized illustrations of part by part, of which we cannot yet take cognizance, that we should only do harm by entering upon close criticism of these works at present. I have only therefore a few remarks to make upon the	3	404	8	parts. I have then only a few remarks further to offer respecting the [omitted in 3 ]
1	402	10	Vatican,	3	404	13	Vatican
3	404	13	the Maestro	4	404	13	the "Master"
4	404	13	Angelo)	5	404	13	Angelo),
4	404	-12	consisted?	5	404	-12	consisted.
4	404	-7	some taste or other	5	404	-7	some scent or flavour, or other
5	404	27	depends? Or	Autograph	404	27	depends; or
1	402	18	great, as … supreme,	3	404	19	great as … supreme;
1	402	26	tell us,	3	404	25	tell us
1	402	27	use, … which	3	404	26	use, … which,
1	402	32	illustrate to us.	3	404	30	illustrate to us?
1	403	2	Consequently	3	404	-2	Consequently,
1	403	24	man, who,	3	405	17	man who
4	405	1	broad	5	405	1	broad,
4	405	15	refined,	5	405	16	refined
4	405	19	is indeed,	5	405	20	is, indeed,
3	405	20	such is, indeed,	4	405	20	such is indeed,
4	405	20	excellence - ... works-	5	405	21	excellence, ... works,
4	405	-13	tests-	5	405	-13	tests,
4	405	-10	compasses- ... eye-	5	405	-10	compasses, ... eye,
4	405	-8	feels it,-	5	405	-8	feels it,
4	405	-6	other:	5	405	-7	other:-
4	405	-6	other: it would be unjust if it could, for that feeling	5	405	-7	other:- that feeling
4	405	-5	labour. And there is, indeed nothing in Turner – not one dot nor line – whose meaning can be understood without knowledge; because he never seems … [12 lines in all] … to enjoy. There is	5	405	-6	labour. There is [omitted in 5 ]
1	403	-9	works, is	3	405	22	works- is
1	404	2	feels it:-	3	405	-8	feels it,-
1	404	6	Turner,- … line,	3	405	-4	Turner- … line-
3	406	3	rest),	4	406	3	rest)
4	406	9	unfailing	5	405	-4	unfailing,
4	406	13	to us:-	5	405	-1	to us:
4	406	14	Nature	5	406	1	nature
4	406	-15	principles-	5	406	11	principles,
4	406	-14	before us-	5	406	11	before us;
4	406	-1	But	5	406	-14	But,
4	406	-1	present height	5	406	-13	height
5	406	12	us; whatever	Autograph	406	12	us: whatever
1	404	21	Nature, … unfailing,	3	406	9	Nature … unfailing
1	405	-5	too bitterly,	3	406	12	too bitterly
1	405	10	error,	3	406	-7	error
1	405	14	childhood,	3	406	-5	childhood;
1	405	15	swiftly, progressive [sic]	3	406	-4	swiftly progressive
4	407	4	present works	5	406	-10	last works
4	407	9	language,	5	406	-4	language
4	407	13	colour	5	407	1	colour,
4	407	14	to him. He has dwelt and communed with Nature all the days of his life; he knows her now too well, he cannot falter over the material littlenesses of her outward form; he must give her soul, or he has done nothing, and he cannot do this with the flax, and the earth, and the oil. "I cannot	5	407	2	to him. "I cannot [omitted in 5 ]
4	407	-4	Nature	5	407	-4	nature
4	407	-1	remember,	5	407	-2	remember
4	409	4	richly-gifted	5	409	4	richly gifted
4	409	-15	wild, weedy ... cool,	5	409	-15	wild weedy ... cool
4	409	-1	them; the	5	409	-1	them. The
1	406	1	form,	3	407	17	form;
1	406	8	read this	3	407	-9	read this,
1	407	-8	something,	3	408	-10	something
1	408	2	mind, … way,	3	408	-3	mind … way
1	408	12	genius, (true sensibility, that is,) there	3	409	6	genius, there
1	408	22	character,	3	409	14	character;
1	409	2	the one, … other,	3	409	-10	the one … other
1	409	5	comparable,	3	409	-8	comparable;
1	409	10	effect,	3	409	-4	effect;
1	410	10	the old water-colour	3	410	10	the old Water-Colour Society
4	410	7	senses,-	5	410	7	senses,
4	410	-9	Society,	5	410	-8	Society
Autograph	410	11	&c.,	Complete	410	11	etc.,
3	410	-6	the rest,	4	410	-6	the rest;
4	410	-5	possess,	5	410	-4	possess
4	411	2	nature:	5	411	3	nature;
4	411	11	extant,-	5	411	12	extant;
4	411	16	§ 10,	5	411	17	§ 10.,
6	411	16	Sect.	7	411	16	Sec.
Autograph	411	16	10.,	Complete	411	16	10,
5	411	17	Chap.I &10.,	6	411	17	Chap.I. &10,
6	411	17	10,	7	411	17	10.,
4	411	-14	others,	5	411	-13	others;
4	411	-5	then is	5	411	-3	then are
4	411	-5	We have, living	5	411	-3	We have had, living
1	410	-6	inevitable,	3	411	9	inevitable;
1	411	8	in art,	3	411	19	in art;
1	411	15	part,	3	411	25	part
1	411	18	done,	3	411	27	done
1	411	-9	enquire	3	411	-1	inquire
4	412	2	ages,-	5	412	4	ages;
Autograph	412	-	judgement.	Complete	412	-	Judgement.
1	411	-2	distinguishing	3	412	5	distinguishing,
3	412	5	fancy,	4	412	5	fancy;
5	412	6	slave of fashion	6	412	6	slave of passion
1	412	6	in art,	3	412	11	in art
3	412	21	rule,	4	412	21	rule:
3	412	-3	examples or masters	4	412	-3	examples of masters
4	412	-3	I had rather	5	413	1	I would rather
1	413	5	critics,	3	413	3	critics
4	413	6	criticism- ... criticism-	5	413	9	criticism, ... criticism,
4	413	7	shews	5	413	10	shows
Complete	413	1	examples of masters	Library	618	-12	examples or masters
3	413	10	art,	4	413	10	art;
4	413	17	painters- ... have-	5	413	-17	painters, ... have,
4	413	20	landed	5	413	-16	landed,
4	413	-16	Turner- ... parallel-	5	413	-12	Turner,- ... parallel,-
4	413	-12	society,	5	413	-8	society
4	413	-12	green room	5	413	-8	green-room
1	413	17	true,	3	413	14	true
1	413	19	is a strange thing, that	3	413	15	is strange that
1	413	-6	jest, and who can find nothing better to say of a perfect composition of Callcott, but that its trees have the " wavy look of Claude's", will	3	413	24	jest, will
1	413	-1	green room, * [fn of 13 lines on Maclise]	3	413	26	green room, [fn omitted in 3 ]
3	414	10	art,	4	414	10	art;
4	414	14	day, is	5	414	18	day is,
4	414	-13	lived for-	5	414	-8	lived for,
1	415	18	subject,	3	414	-11	subject
1	415	-5	ones,	3	415	4	ones;
1	415	-2	hand	3	415	6	hand,
1	416	2	benefit,	3	415	8	benefit
1	416	8	example	3	415	13	example,
1	416	17	easel,	3	415	21	easel
1	415	-7	whatever that,	3	415	-11	whatever, that,
4	415	5	thirty. [fn omitted in 4 ]	5	415	10	thirty. ¹ [fn: I would further insist on all that is advanced in these paragraphs, with especial reference to the admirable, though strange, pictures of Mr. Millais and Mr. Holman Hunt; and to the principles exemplified in the efforts of other members of a society which unfortunately, because the principles on which its members are working are neither pre- nor post-Raphaelite, but everlasting. They are endeavouring to paint, with the highest possible degree of completion, what they see in nature, without reference to conventional or established rules; but by no means to imitate the style of any past epoch. Their works are, in finish of drawing, and in splendour of colour, the best in the Royal Academy; and I have great hope that they may become the foundation of a more earnest and able school of art than we have seen for centuries.
4	415	-18	painter	5	415	-3	painter,
4	415	-14	difficult- ... art-	5	416	2	difficult, ... art,
4	415	-12	but until	5	416	4	but, until
4	415	-6	trickster:	5	416	10	trickster;
3	415	-4	himself,-first,	4	415	-4	himself: First,
4	415	-2	modulate- ... vary-	5	416	15	modulate, ... vary,
3	415	-1	can graduate	4	415	-1	can vary
3	416	7	chalk, of landscape	4	416	7	chalk, or sepia of landscape
4	416	7	Studies in chalk, or sepia of landscape, should	5	416	-15	Studies of landscape, in chalk or sepia, should
1	417	9	exhibition	3	416	8	Exhibition
4	416	11	architecture- ... be – ... pictures:	5	416	-10	architecture,- ... be,- ... pictures;
3	416	13	pictures;	4	416	13	pictures:
4	416	15	artists in landscape, nothing	5	416	-6	artists nothing
1	417	19	bonâ fide imitation	3	416	16	bona fide imitation
3	416	16	nature.-They	4	416	16	nature. They
4	416	17	masters,-	5	416	-4	masters;
4	416	18	mimick	5	416	-3	mimic
3	416	25	comparison.-Their	4	416	25	comparison. Their
4	416	-11	Nature	5	417	7	nature
4	416	-5	colours -	5	417	13	colours,
4	416	-1	instruction,	5	417	17	instruction;
6	416	-5	bonâ	7	416	-5	bona
Autograph	417	2	velocity;	Complete	417	2	velocity:
4	417	16	water,-	5	417	-4	water;
4	417	17	sun, ... shade,- ... blue,- ... sentiment, ... humour, ... antiquarianism,-	5	417	-3	sun ... shade, ... blue, ... sentiment ... humour ... antiquarianism,
1	418	18	words, … bowed before,	3	417	9	Words … before bowed,
1	418	18	words, … bowed before,	2	418	18	Words … before bowed,
1	418	-5	as in the case	3	417	21	as was the case
1	418	-5	as in the case	2	418	-5	as was the case
1	418	-4	composition,-	3	417	22	composition;
1	419	1	powers [to p419 line –3] works are not to be received [one page in 1 expanded into 3½ pp in 3 ]	3	417	-12	powers [to p421 line 2] they are not to be received [one page in 1 expanded into 3½ pp in 3 ]
1	419	1	powers, … [to p419 line –3] … works are not to be received	2	419	1	powers, such marked … [3 pp to p422 line –2] … are not to be received
4	418	1	That	5	418	17	"That
4	418	3	"mobility;"	5	418	19	mobility,
4	418	4	temperament,	5	418	20	temperament
Autograph	418	4	&c.	Complete	418	4	etc.
3	418	5	in art inconsistent with invention.	4	418	5	in art no certain sign of inventive power.
3	418	6	canvass always shows,	4	418	6	canvass does not always show,
4	418	6	romancers;	5	418	22	romancers,
4	418	7	great- ... clever. [line 1 indented]	5	418	23	great, ... clever." [lines 1,3,5,7 indented]
4	418	8	that – in painters -	5	418	24	that, in painters,
4	418	fn2	enable	5	418	fn2	cause
4	418	fn3	mind,	5	418	fn3	mind
4	418	16	water-colour	5	419	1	water-colour
Autograph	418	-17	facility,	Complete	418	-17	facility.
4	419	1	invented,	5	419	-8	invented
4	419	2	recollected, (in fact, ... recollection - ... distinct).	5	419	-8	recollected: in fact, ... recollection, ... distinct.
3	419	5	place:	4	419	5	place;
4	419	7	position;	5	419	-2	position:
4	419	fn2	difference- ... Nature-	5	419	fn2	difference, ... Nature,
4	419	fn5	care ... . artists	5	419	fn5	care, ... artists,
4	419	fn8	branded	5	419	fn8	branded,
4	419	fn10	abortions,	5	419	fn10	abortions
4	419	fn11	417	5	419	fn11	417.
4	419	fn12	trustingly,-	5	419	fn12	trustingly,
4	419	fn13	they go- ... liberty-	5	419	fn13	they go, ... liberty,
4	419	fn14	servant-of-all-work	5	420	fn1	servant of all work
4	419	fn15	landscape gardener	5	420	fn2	landscape-gardener
4	419	fn16	follow- ... pollard-	5	420	fn3	follow, ... pollard,
4	419	fn-15	cannot do., ... operations:	5	420	fn7	cannot do ... operations;
4	419	fn-11	spoil;- ... excellence,-	5	420	fn11	spoil; ... excellence,
4	419	fn-10	animal- ... tree, -	5	420	fn13	animal, ... tree,
4	419	fn-4	painter, is	5	420	fn18	painter is,
4	419	fn-2	destructive- ... beautiful,-	5	420	fn20	destructive; ... beautiful;
5	419	fn-3	(page 417.)	6	419	fn-3	(page 417)
5	419	fn1	nature	Autograph	419	fn1	Nature
Autograph	419	fn-9	artists,	Complete	419	fn-9	artists
4	420	3	around it – darkness- ... light -	5	420	6	around it, darkness, ... light,
4	420	5	come out ... occur	5	420	9	come out, ... occur,
4	420	12	that new ... contemplation	5	421	5	and new ... contemplation,
3	420	13	by day,	4	420	13	by day;
3	420	18	works-all that is mental in them, has not yet	4	420	18	works have not yet
3	420	19	None but their lightest and least essential excellences	4	420	19	None but their imitative excellences
4	420	fn3	Nature	5	420	fn-12	"Nature
4	420	fn-2	blessings.	5	420	fn-2	blessings."
4	420	-10	greatest	5	421	10	greatest
4	420	-5	It might,	5	421	14	It might
4	420	-3	but once	5	421	16	but, once
1	419	-1	opinion; but	3	421	3	opinion, but
1	419	-1	opinion; but	2	422	-1	opinion, but
1	420	1	pleased; … judgment;	3	421	4	pleased, … judgment,
1	420	1	pleased; … judgement;	2	423	1	pleased; … judgement,
1	420	12	poems, using no means or vehicle capable of any kind of change. We do not presume to form even so much as a wish, or an idea, respecting the manner or matter of anything proceeding from his hand. We desire only that	3	421	13	poems. We desire that
1	420	12	poems, using no means nor vehicle capable of any kind of change. We do not presume to form even so much as a wish, or an idea, respecting the manner or matter of anything proceeding from his hand. We desire only that	2	423	12	poems. We desire that
1	420	-8	trust. [fn not in 1 ]	3	421	-3	trust. ¹ [fn of 18 lines]
4	421	3	Faith	5	421	-15	faith
4	421	11	work-	5	421	-8	work,
4	421	-5	forever	5	421	-1	forever,
4	421	-2	lightly-	5	422	3	lightly;
4	421	-1	God,	5	422	4	God
4	421	fn1	Second Volume	5	422	fn1	second volume
4	421	fn3	attention if,	5	422	fn3	attention, if,
6	421	-	Turner	7	421	-	Turner.
5	421	14	might perhaps	Autograph	421	10	might, perhaps
5	421	23	taught: not	Autograph	421	19	taught; not
3	421	fn5	on them	4	421	fn5	in them
3	421	fn6	which the great artist	4	421	fn6	which the works of the great artist
4	421	fn9	judgment,	5	422	fn9	judgment
4	421	fn-7	fell,	5	422	fn-7	fell
4	421	fn-6	relations,	5	422	fn-6	relations
4	422	-	[Postscript omitted in 4 ]	5	422	9	POSTSCRIPT The above passage was written in the year 1843; too late. It is true, that, soon after the publication of this work, the abuse of the press, which had been directed against Turner with unceasing virulence during the production of his noblest works, sank into timid animadversion, or changed into unintelligent praise; but not before illness, and, in some degree, mortification, enfeebled the hand and chilled the heart of the painter.
4	422	3	prophecy,- ... Deity,-	5	422	7	prophecy; ... Deity,
4	423	-	[omitted in 4 ]	5	423	1	This year (1851) he has no pictures on the walls of the Academy; and the "Times" of May 3 ^rd says, "We miss those works of INSPIRATION!" " We miss! Who misses? The populace of England rolls by to weary itself in the great bazaar of Kensington, little thinking that a day will come when those veiled vestals and prancing amazons and goodly merchandize of precious stones and gold, will all be forgotten as though they had not been, but that the light which has faded from the walls of the Academy is one which a million of Koh-I-Noors could not rekindle, and that the year 5 will, in the far future, be remembered less for what it has displayed than for what it has withdrawn. Denmark Hill, June, 1851. END OF THE FIRST VOLUME.
6	423	-	[16 pages of book advertisements follow]	7	423	-	[no advertisements in 7 ]
5	423	2	"Times"	Autograph	422	15	Times
Autograph	423	-1	END OF THE FIRST VOLUME. [32 pages of book advertisements follow, the Catalogue for Smith, Elder & Co.’s publications]	Complete	423	-	[omitted]
Complete	424	-	"Additional Notes to VOL.I" [i.e. to Frondes Agrestes excerpts]	Library	632	-	[not in Library ed.]
5	425	-	[reviews of Ruskin's other works]	6	425	-	[reviews in 5 omitted in 6 ]