Works, Volumes 2-3

Front Cover
J. Wiley & sons, 1887
 

Contents

Infinity how necessary in art
41
Conditions of its necessity
42
How the dignity of treatment is proportioned to the expres sion of infinity
43
Examples among the Southern schools
44
Among the painters of landscape
45
14 The beauty of curvature
46
The beauty of gradation
47
How necessary in Art
48
Infinity not rightly implied by vastness
49
Of Unity or the Type of the Divine Compre hensiveness 1 The general conception of divine Unity
50
The several kinds of unity Subjectional Original Of sequence and of membership
51
Unity of membership How secured
52
Variety Why required
53
Change and its influence on beauty
54
The love of change How morbid and evil
55
And towards unity of sequence
57
The value of apparent proportion in curvature
60
How by nature obtained
61
14 Error of Burke in this matter
62
Constructive proportion Its influence in plants
63
And animals
64
Of Repose or the Type of Divine Perma nence 1 Universal feeling respecting the necessity of repose in art Its sources
65
To what its agreeableness is referable Various instances
73
Of Moderation or the Type of Government
81
The two senses of the word ideal Either it refers to
103
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
33 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
What power we have over impressions of sense
137
The second objection arising from the coldness of Christian men to external beauty
138
SECTION II
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
CHAPTER IIOf 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
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
19
159
And Turner
160
The due function of Associative imagination with respect to nature
161
Of Imagination Penetrative
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
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
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
Ideal form of the body itself of what variety susceptible
221
Symmetry How valuable
222
Its scope how limited
223
Conclusion
224
ADDENDA
225
Explanation of the term theoretic
1
Depends on acuteness of attention
4
Evidence of higher rank in pleasures of sight and hearing 15
7
The difference of position between plants and animals
8
The necessity of submission in early stages of judgment
10
How connected with the imaginative faculties
14
With what liabilities to error
16
General Inferences respecting Typical Beauty
21
VI
23
Secondly Profane
61
First Purist
70
75
75
Secondly Naturalist
77
81
81
87
87
Thirdly Grotesque
92
Of Finish
108
108
109
23
124
anxieties overwrought and criminal 139
139
Evil consequences of such coldness 140
140
Of the Novelty of Landscape
144
Of the Pathetic Fallacy
152
but apprehending of things 163
163
Of Classical Landscape
168
Of False Opinions held concerning Beauty
182
First the Fields
191
30
210
cascases
230
The dignity of its function
267
33
300
Of the Teachers of Turner
308
APPENDIX
333

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Page 168 - 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 137 - 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 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 274 - Oh, what a tangled web we weave, When first we practise to deceive...
Page 280 - Fear and trembling Hope, Silence and Foresight ; Death the Skeleton And Time the Shadow ; — there to celebrate, As in a natural temple scattered o'er With altars undisturbed of mossy stone, United worship ; or in mute repose To lie, and listen to the mountain flood Murmuring from Glaramara's inmost caves, 1803.
Page 197 - Sweet flower ! for by that name at last, When all my reveries are past, I call thee, and to that cleave fast, Sweet silent creature ! That breath'st with me in sun and air, Do thou, as thou art wont, repair My heart with gladness, and a share Of thy meek nature ! TO THE SAME FLOWER.
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 167 - Horatio; a fellow of infinite jest, of most excellent fancy. He hath borne me on his back a thousand times; and now, how abhorred in my imagination it is! my gorge rises at it. 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 - 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.

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