The content of Turner’s later work, 120 Relation of Turner’s later work to Impressionism defined, 121 The historical development of Turner’s later manner, 126 The Petworth sketches, 126 Discovery of the artistic value of the Indeterminate, 128 ‘Rivers of France,’ 129 Venetian sketches, 131 Swiss and Rhine sketches, 134 The end, 135 IX. CONCLUSION, 136 The distinction between Art-criticism and Aesthetic, 136 The aim of this chapter, 137 Art and physical fact, 137 The ‘common-sense’ conception of landscape art as evidence of fact, 137 Mr. Ruskin’s treatment of the relation of Art and Nature, 138 His confusion of Nature and Mind, 140 Art as a form of communication implies that the dualism of Nature and Mind is overcome, 143 What does Art represent? 144 An individualised psychical content present to the mind of the artist, 145 Classification of Turner’s sketches and studies from the point of view of their logical content, 146 The assertions in a work of art do not directly qualify the ordinary real world, but an imaginary world specially constructed for the artist’s purpose, 150 The ideal of complete definition, 151 Yet the content must determine the form, 151 Plea for a dynamic study of Artistic form, 153 INDEX, 155 LIST OF PLATES All the Drawings are in the National Gallery, unless otherwise specified. (The numbers, etc., in brackets refer to the position of the Drawings in the Official Inventory.) The Pass of Faïdo, St. Gothard,....._Frontispiece_ Water Colour. 1844. (CCCLXIV. 209.) PLATE.....PAGES I. St. Vincent’s Tower, Naples,....._Between_ 6-7 Water-Colour. About 1787. (I.E.) II. Central Portion of an Aquatint by Paul Sandby, after Fabris, entitled ‘Part of Naples, with the Ruin’d Tower of St. Vincent.’ Published 1st Jan. 1778,....._Between_ 6-7 III. Radley Hall: South Front, ....._Facing_ 11 Water-Colour. About 1789. (III. D). IV. View on the Avon, from Cook’s Folly,....._Facing_ 14 Water-Colour and Ink. About 1791. (VI. 24). V. Lincoln Cathedral,....._Between_ 20-21