Modern Painters: pt. 3. Of the imaginative and theoretic faculties. 4th ed

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Smith, Elder, and Company, 1848 - Aesthetics
 

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Contents

How certain conclusions respecting beauty are by reason demonstrable
25
16 The term Beauty how limitable in the outset Divided into Typical and Vital
26
Of False Opinions held concerning Beauty 1 Of the false opinion that Truth is beauty and vice versa
28
The twofold operation of custom It deadens Sensation but confirms Aflection
29
But never either creates or destroys the essence of Beauty
30
Of the false opinion that Beauty depends on the association of ideas
31
Association Accidental The extent of its influence
32
The Dignity of its function
33
And what caution it renders necessary in the examination of them
34
First of Infinity or the Type of Divine Incomprehensibility 1 Impossibility of adequately treating the subject
36
The Child instinct respecting space
37
Continued in after life
38
Infinity how necessary in art
39
Conditions of its necessity
40
VOL n
41
Among the Venetians
42
Other modes in which the power of infinity is felt
43
Of Unity or the Type of the Divine Comprehen
47
And towards Unity of Sequence
53
Constructive proportion Its influence in plants
59
Of Symmetry or the Type of Divine Justice
68
The Beauty of Curvature 43
73
Energy how expressed by purity of Matter
74
Spirituality how so expressed
75
Of Moderation or the Type of Government by Law 1 Meaning of the terms Chasteness and Refinement
76
Finish by great masters esteemed essential
77
Moderation its nature and value
78
It is the girdle of Beauty
79
How difficult of attainment yet essential to all good
80
General Inferences respecting Typical Beauty 1 The subject incompletely treated yet admitting of general conclusions
81
Typical Beauty not created for mans sake
82
Of Vital Beauty First as Belative 1 Transition from typical to vital Beauty
84
The perfection of the Theoretic faculty as concerned with vital Beauty is Charity
85
Only with respect to plants less affection than sympathy
86
Which is proportioned to the appearance of Energy in the Plants
87
This sympathy is unselfish and does not regard utility
88
Especially with respect to animals
89
The second perfection of the Theoretic faculty as concerned with life is justice of moral judgment
90
How impeded
91
PAGE
92
As also in Plants
93
Of Vital Beauty Secondly as Generic i 1 The beauty of fulfilment of appointed function in every animal
95
The two senses of the word Ideal Either it refers to action of the imagination
96
Or to perfection of type
97
Of Ideal form First in the lower animals
98
Ideal form in vegetables
99
Admits of variety in the Ideal of the former
100
Instance in the Soldanella and Ranunculus
101
The beauty of repose and felicity how consistent with such Ideal
102
The ideality of Art
103
CHApter XIVOf Vital Beauty Thirdly in Man 5 1 Condition of the human creature entirely different from that of the lower animals
105
How the conception of the bodily ideal is reached
106
Modifications of the bodily ideal owing to influence of mind First of Intellect
107
What beauty is bestowed by them
108
How the soul culture interferes harmfully with the bodily ideal
109
Is a sign of Gods kind purpose towards the race
110
Consequent Separation and difference of Ideals Ill 11 The effect of the Adamite curse are to be distinguished from signs of its immediate activity
112
Ideal form is only to be obtained by portraiture
113
Evil results of opposite practice in modern times
114
General Conclusions respecting the Theoretic Faculty 1 There are no sources of the emotion of beauty more than those found in things visible
125
OP THE IMAGINATIVE FACULTY
133
Its presence Salvator Nicolo Poussin Titian Tintoret
150
The due function of Associative imagination with respect to nature
151
The sign of imaginative work is its appearance of absolute truth
152
Of Imagination Penetrative 1 Imagination penetrative is concerned not with the combining but appre hending of things
154
The imagination seizes always by the innermost point
155
It acts intuitively and without reasoning
156
Absence of imagination how shown
157
Fancy how involved with Imagination
159
Fancy is never serious
160
Fancy restless
161
And suggestive of the Imagination
162
Imagination addresses itself to Imagination
164
The Annunciation
165
The Baptism of Christ Its treatment by various painters
166
By Tintoret
167
The Crucifixion
168
The Massacre of Innocents
170
Various works in the Scuola di San Rocco
171
The Last Judgment How treated by various painters
172
The imaginative verity how distinguished from realism
173
The imagination how manifested in sculpture
174
Bandinelli Canova Mino da Fiesole
175
Recapitulation The perfect function of the Imagination is the intuitive perception of Ultimate Truth
178
Imagination how vulgarly understood
179
How its cultivation is dependent on the moral feelings
180
Of Imagination Contemplative 1 Imagination contemplative is not part of the essence but only a habit or mode of the faculty
182
Is not in itself capable of adding to the charm of fair things
183
But gives to the Imagination its regardant power over them
184
The third office of Fancy distinguished from imagination contemplative
185
Various instances
187
Morbid or Nervous Fancy
190
Except under narrow limits 1st Abstract rendering of form without colour
191
Or of both without texture
192
Abstraction or typical representation of animal form
193
Or in architectural decoration
194
Exception in delicate and superimposed ornament
195
Abstractions of things capable of varied accident are not imaginative
196
Exaggeration Its laws and limits First in scale of representation
197
Secondly Of things capable of variety of scale
198
Thirdly necessary in expression of characteristic features on diminished scale
199
Of the Superhuman Ideal 1 The subject is not to be here treated in detail
201
And these are in or through creature forms familiar to us
202
1st Of the expression of Inspiration
203
No representation of that which is more than creature is possible
204
Supernatural character expressed by modification of accessaries
205
Landscape of Benozzo Gozzoli
206
Such Landscape is not to he imitated
207
Colour And Decoration Their use in representations of the Super natural
208
And Colour pure
209
Anatomical development how far admissible
210
The influence of Greek art how dangerous
211
Conclusion
212
Addenda
215
What imperfection exists in visible things How in a sort by imagination remoreable 126
2
clearness 72
4
11
11

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Page 129 - And he took up his parable and said, Balaam the son of Beor hath said, and the man whose eyes are open hath said...
Page 86 - 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 34 - The sounding cataract Haunted me like a passion : the tall rock, The mountain, and the deep and gloomy wood, Their colours and their forms were then to me An appetite ; a feeling and a love That had no need of a remoter charm, By thought supplied, or any interest Unborrowed from the eye.
Page 124 - This seraph-band, each waved his hand: It was a heavenly sight! They stood as signals to the land, Each one a lovely light; This seraph-band, each waved his hand, No voice did they impart No voice; but oh!
Page 136 - 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 136 - So spake the grisly terror, and in shape, So speaking: and so threatening, grew tenfold More dreadful and deform : on the other side, Incensed with indignation, Satan stood Unterrified, and like a comet burned, That fires the length of Ophiuchus huge In the arctic sky, and from his horrid hair Shakes pestilence and war.
Page 37 - Not for these I raise The song of thanks and praise ; But for those obstinate questionings Of sense and outward things, Fallings from us, vanishings ; Blank misgivings of a Creature Moving about in worlds not realised...
Page 166 - ... of its supporting column. This, I think, sufficiently explains the typical character of the whole. The ruined house is the Jewish dispensation ; that obscurely arising in the dawning of the sky is the Christian ; but the corner-stone of the old building remains, though the builder's tools lie idle beside it, and the stone which the builders refused is become the Headstone of the Corner.
Page 4 - He hath made every thing beautiful in his time : also he hath set the world in their heart; so that no man can find out the work that God maketh from the beginning to the end.
Page 124 - That light proceeds, which kindleth lovers' fire, Shall never be extinguished nor decay; But, when the vital spirits do expire, Unto her native planet shall retire; For it is heavenly born and cannot die, Being a parcel of the purest sky.

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