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

Front Cover
J. Wiley, 1889

From inside the book

Contents

First of Infinity or
38
Of Symmetry or the Type of Divine Justice
41
The value of apparent proportion in curvature
60
To what its agreeableness is referable Various instances
73
Instances
104
signs of its immediate activity
118
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 connected with 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
It is never to be for itself exhibitedat least on the face
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
The second objection arising from the coldness of Christian men to external beauty
138
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
4 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
Laws of art the safeguard of the unimaginative
155
The monotony of unimaginative treatment
156
Imagination never repeats itself
157
Modification of its manifestation
158
Its presence Salvator Nicolo Poussin Titian Tintoret
159
And Turner
160
The due function of Associative imagination with respect to nature
161
Of Imagination Penetrative 1 Imagination penetrative is concerned not with the combining but apprehending of things
163
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
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
20 Its scope how limited
223
Conclusion
224
ADDENDA
225
PAGE
Grounds of inferiority in the pleasures which are subjects
5
Of the false opinion that beauty depends on the association
7
Reasons for this coldness in the anxieties of the world These
10
14 Error of Burke in this matter
14
Of the received Opinions touching the Grand Style
16
H Of the Real Nature of Greatness of Style
23
65
62
First as Relative
89
Thirdly Grotesque
92
1
124
anxieties overwrought and criminal 139
139
Evil consequences of such coldness 140
140
44
191

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