The Works of John Ruskin: Modern painters, v.1-5

Front Cover
J. Wiley, 1889

From inside the book

What people are saying - Write a review

We haven't found any reviews in the usual places.

Contents

Mental repose how noble
67
Its universal value as a test of art
68
Instances in the Laocoon and Theseus
69
And in altar tombs
70
Of Symmetry or the Type of Divine Justice 8 1 Symmetry what and how found in organic nature
72
To what its agreeableness is referable Various instances
73
Of Purity or the Type of Divine Energy 1 The influence of light as a sacred symbol
75
Originally derived from conditions of matter
76
Perfect beauty of surface in what consisting
77
Purity only metaphorically a type of sinlessness
78
Energy how expressed by purity of matter
79
Of Moderation or the Type of Government by Law 1 Meaning of the terms Chasteness and Refinement
81
Finish by great masters esteemed essential
82
Moderation its nature and value
84
How difficult of attainment yet essential to all good
85
General Inferences respecting Typical Beauty 1 The subject incompletely treated yet admitting of general conclusions
86
Typical beauty not created for mans sake
87
Of Vital Beauty First as Relative 1 Transition from typical to vital Beauty
89
The perfection of the theoretic faculty as concerned with vital beauty is charity
90
plants
92
This sympathy is unselfish and does not regard utility
93
Especially with respect to animals
94
And it is destroyed by evidences of mechanism
95
The second perfection of the theoretic faculty as concerned with life is justice of moral judgment
96
How impeded
97
11 As also in plants
99
Recapitulation
100
Secondly as Generic 1 The beauty of fulfilment of appointed function in every animal
101
The two senses of the word ideal Either it refers to ac tion of the imagination
102
Or to perfection of type
103
Of Ideal form First in the lower animals
104
Ideal form in vegetables
105
Admits of variety in the ideal of the former
106
Ideal form in vegetables destroyed by cultivation
107
Instance in the Soldanella and Ranunculus
108
The ideality of Art
109
Ideality how belonging to ages and conditions
110
Thirdly in Man 1 Condition of the human creature entirely different from that of the lower animals
111
How the conception of the bodily ideal is reached
112
Modifications of the bodily ideal owing to influence of mind First of intellect
113
What beauty is bestowed by them
115
signs of its immediate activity
118
13 Ideal form is only to be obtained by portraiture
119
Evil results of opposite practice in modern times
120
The right use of the model
121
Practical principles deducible
122
Portraiture ancient and modern
123
How connectedwith impurity of color
124
Or by severity of drawing
125
And modern art
126
Holy fear how distinct from human terror
127
Such expressions how sought by painters powerless and
129
Of passion generally
130
Recapitulation
131
General Conclusions respecting the Theo retic Faculty 1 There are no sources of the emotion of beauty more than those found in things visible
133
What imperfection exists in visible things How in a sort by imagination removable
134
What objections may be made to this conclusion
135
How interrupted by false feeling
136
Greatness and truth are sometimes by the Deity sustained and spoken in and through evil men
137
Of the Three Forms of Imagination PAGES 1 A partial examination only of the imagination is to be at tempted
142
The works of the metaphysicians how nugatory with respect to this faculty
143
This instance nugatory
144
Various instances
145
The three operations of the imagination Penetrative associ ative contemplative
146
Of Imagination Associative 1 Of simple conception
147
How connected with verbal knowledge
148
Characteristics of composition
149
What powers are implied by it The first of the three func tions of fancy
150
Imagination is the correlative conception of imperfect compo nent parts
151
The grasp and dignity of imagination
152
Its limits
153
How manifested in treatment of uncertain relations Its de ficiency illustrated
154
The imagination seizes always by the innermost point
164
It acts intuitively and without reasoning
165
Absence of imagination how shown
166
Fancy how involved with imagination
168
Fancy is never serious
169
Imagination is quiet fancy restless
170
And suggestive of the imagination
171
This suggestiveness how opposed to vacancy
172
Imagination addresses itself to imagination
173
The entombment
174
The Baptism of Christ Its treatment by various painters
176
By Tintoret
177
The Crucifixion
178
The Massacre of innocents
179
Various works in the Scuola di San Rocco
181
By Tintoret
182
The imaginative verity how distinguished from realism
183
The imagination how manifested in sculpture
184
Michael Angelo
185
Recapitulation The perfect function of the imagination is the intuitive perception of ultimate truth
188
Imagination how vulgarly understood
190
On independence of mind
191
Of Imagination Contemplative 1 Imagination contemplative is not part of the essence but only a habit or mode of the faculty
192
Is not in itself capable of adding to the charm of fair things
193
But gives to the imagination its regardant power over them
194
The third office of fancy distinguished from imagination con templative
195
Various instances
197
Morbid or nervous fancy
200
The action of contemplative imagination is not to be expressed by art
201
Of color without form
202
Abstraction or typical representation of animal form
203
Either when it is symbolically used
204
Or in architectural decoration
205
Exception in delicate and superimposed ornament
206
Abstractions of things capable of varied accident are not
207
Exaggeration Its laws and limits First in scale of repre sentation
208
Secondly of things capable of variety of scale
209
Thirdly necessary in expression of characteristic features on diminished scale
210
Recapitulation
211
Of the Superhuman Ideal 1 The subject is not to be here treated in detail
212
And these are in or through creature forms familiar to us
213
1st Of the expression of inspiration
214
No representation of that which is more than creature is pos sible
215
Supernatural character expressed by modification of acces sories
216
Landscape of the religious painters Its character is emi nently symmetrical
217
Landscape of Perugino and Raffaelle
218
Color and Decoration Their use in representations of the Supernatural
219
Decoration so used must be generic 220
222
Its scope how limited
223
Conclusion
224
ADDENDA
225
The inconsistency among the effects of the mental virtues
8
The second objection arising froin the coldness of Christian
9
16 And animals
16
H Of the Real Nature of Greatness of Style 23
23
the form 116
42
First Religious 44
44
Of Repose or the Type of Divine Perma
50
57
57
63
63
First Purist 70
70
form without color 201
99
Of Finish 108
108
Is a sign of Gods kind purpose towards the race 116
116
Consequent separation and difference of ideals 117
117
men to external beauty 138
138
Reasons for this coldness in the anxieties of the world These anxieties overwrought and criminal 139
139
Evil consequences of such coldness 140
140
Of the Novelty of Landscape 144
144
LXV1 Of Modern Landscape
248
APPENDIX
333

Other editions - View all

Common terms and phrases

Popular passages

Page 91 - One lesson, shepherd, let us two divide, Taught both by what she shows, and what conceals • Never to blend our pleasure or our pride With sorrow of the meanest thing that feels.
Page 39 - From God who is our home. Heaven lies about us in our infancy. Shades of the prison-house begin to close Upon the growing boy; But he beholds the light and whence it flows, He sees it in his joy. The youth who daily farther from the East Must travel, still is Nature's priest, And, by the vision splendid, Is on his way attended. At length the man perceives it die away And fade into the light of common day.
Page 278 - Oh, what a tangled web we weave, When first we practise to deceive...
Page 167 - Here hung those lips that I have kissed I know not how oft. Where be your gibes now? your gambols? your songs? your flashes of merriment, that were wont to set the table on a roar?
Page 145 - And missing thee, I walk unseen On the dry smooth-shaven Green, To behold the wandering Moon, Riding near her highest noon, Like one that had been led astray Through the Heaven's wide pathless way; And oft, as if her head she bowed, Stooping through a fleecy cloud.
Page 84 - That which doth assign unto each thing the kind, that which doth moderate the force and power, that which doth appoint the form and measure, of working, the same we term a law.
Page 197 - In heaven above thee! Yet like a star, with glittering crest, Self-poised in air thou seems't to rest; — May peace come never to his nest, Who shall reprove thee!
Page 168 - O Proserpina, For the flowers now that frighted thou let'st fall From Dis's waggon! daffodils That come before the swallow dares, and take The winds of March with beauty; violets dim, But sweeter than the lids of Juno's eyes Or Cytherea's breath; pale primroses, That die unmarried, ere they can behold Bright Phoebus in his strength...
Page 169 - Who is she that looketh forth as the morning, fair as the moon, clear as the sun, and terrible as an army with banners?
Page 52 - Simon Peter saith unto them, I go a fishing. They say unto him, We also go with thee. They went forth, and entered into a ship immediately; and that night they caught nothing.

Bibliographic information