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fol. 56v 	 'Of Truth of Chiaroscuro'  (Pt II, Sn II, Ch III)    (3.315-17)
      
      
     I need scarcely go on - the above instances are taken straight forward
     as they come - the reader can <go on for> {proceed by} himself .   I may <point>
     							{name} <to> a few
     	cases of Chiaroscuro more especially deserving of his study  ^ {Scene}   Between
     Quillebœuf & Villequier  .  Honfleur .    Light towers of the Heve    On the
     Seine between Mantes & Vernon    <Mantes>     The lantern at St Cloud .
     Confluence of Seine & Marne ,     Troyes .  ^ {this last especially}   The first and last
     vignette
     and those at pages   36 . 63 .  95  <178>  184 .  192   203 . in Rogers
     poems .     the first and second vignette - & that to the last man in
     Campbell.  ^ {Venice <&> in the Italy, &} St Maurice <in the Italy> . where note the
     							                   black stork ,  .
10   Brienne -  Skiddaw -  Mayburgh . Melrose - Jedburgh - in the illustrations
     to Scott - and the vignettes to Milton - not because these are one
     whit superior to the rest of <his> {Turners}  works - but because the<y> laws we
     are speaking of are more striking {& easily} observable in them . & because they
     have been tolerably engraved .   It is impossible to reason from any
15   of the larger <engravings> {plates.} - in which half the chiaroscuro ^ {if not the
     whole} is <always>
     totally destroyed by the haggling and "making out" of the ^ <confounded> engravers.
     Such then , are the <two> great ^ {general} points {of truth}in which Turners system
     of
     chiaroscuro excells that of <all other men - but more especially that> of
     the old <artists> {masters}.   <Into> {<With> Of his} composition or arrangement we
     of course {can} have nothing
20   to <do> {say} at present . <but the> {but his} truth <of his principles> is
     indisputable .  {I do not however intend}   As I
     before said , to enter critically upon his particular effects . of light.  I should
     need to be a machine  , &c. paper[?] .  P. 184 .
      
fol. 57r	'Of Truth of Tone' (Pt II, Sn II, Ch  I)    (3.271?)
      
      
      
     First .   Light changes its colour only as the atmosphere changes its
     qualities . both of density and temperature .
     The shadow of a ^ {quiet} cloud passing over a landscape in [sic] a sunny day.
     is influenced and tinted by the character of the general light,
 5   and is toned by that light as much as any minor and stationary
     shadow .   	But if the cloud bring rain & wind with it - and the
     temperature of the atmosphere fall as it passes - then the quality of
     the light is really altered - and the whole tone of the stormy part
     is different from the tone of any other shadowed part of the
10   landscape .  And so invariably it is the case - that just in the
     degree in which <it is possible for> the atmosphere changes its other qualities
     of heat & density - it is possible - and generally essential , for it to
     change its tone .    Where<f>ver therefore - there is space enough to
     suppose a real change of climate - there may be - in proportion
15   to that change - a change of tone  .   It is not necessary therefore .
     but usually contrary to truth . that a picture embracing great space
     should be painting of one tone  ,  but truth requires that every change
     of tone should be fitly accounted for - {that no change should take place within
     		impossible distances} and that every tone given should
     be perfect & un<*..*>broken .   These rules being observed. the landscape
20   painter possesses great power of variety of colour , <&> immeasurably greater.
     than tha<n>t admissible in any other branch of art .   For as within the limits
     of a group of figures . it is impossible that climate should change . the slightest
      

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