Chapter VIII.-Of Symmetry, or the Type of Divine Justice.
| § 1. | Symmetry, what and how found in organic nature. | 72 |
| § 2. | How necessary in art. | 72 |
| § 3. | To what its agreeableness is referable. Various instances. | 73 |
| § 4. | Especially in religious art. | 73 |
Chapter IX.-Of Purity, or the Type of Divine Energy.
| § 1. | The influence of light as a sacred symbol. | 75 |
| § 2. | The idea of purity connected with it. | 75 |
| § 3. | Originally derived from conditions of matter. | 76 |
| § 4. | Associated ideas adding to the power of the impression. Influence of clearness. | 76 |
| § 5. | Perfect beauty of surface, in what consisting. | 77 |
| § 6. | Purity only metaphorically a type of sinlessness. | 78 |
| § 7. | Energy, how expressed by purity of matter. | 79 |
| § 8. | And of color. | 79 |
| § 9. | Spirituality, how so expressed. | 79 |
Chapter X.-Of Moderation, or the Type of Government by Law.
| § 1. | Meaning of the terms Chasteness and Refinement. | 81 |
| § 2. | How referable to temporary fashions. | 81 |
| § 3. | How to the perception of completion. | 81 |
| § 4. | Finish, by great masters esteemed essential. | 82 |
| § 5. | Moderation, its nature and value. | 84 |
| § 6. | It is the girdle of beauty. | 84 |
| § 7. | How found in natural curves and colors. | 84 |
| § 8. | How difficult of attainment, yet essential to all good. | 85 |
Chapter XI.-General Inferences respecting Typical Beauty.
| § 1. | The subject incompletely treated, yet admitting of general conclusions. | 86 |
| § 2. | Typical beauty not created for man's sake. | 87 |
| § 3. | But degrees of it for his sake admitted. | 87 |
| § 4. | What encouragement hence to be received. | 87 |
Chapter XII.-Of Vital Beauty:-First, as Relative.
| § 1. | Transition from typical to vital Beauty. | 89 |
| § 2. | The perfection of the theoretic faculty as concerned with vital beauty, is charity. | 90 |
| § 3. | Only with respect to plants, less affection than sympathy. | 91 |
| § 4. | Which is proportioned to the appearance of energy in the plants. | 92 |
| § 5. | This sympathy is unselfish, and does not regard utility. | 93 |
| § 6. | Especially with respect to animals. | 94 |
| § 7. | And it is destroyed by evidences of mechanism. | 95 |
| § 8. | The second perfection of the theoretic faculty as concerned with life is justice of moral judgment. | 96 |
| § 9. | How impeded. | 97 |
| § 10. | The influence of moral signs in expression. | 97 |
| § 11. | As also in plants. | 99 |
| § 12. | Recapitulation. | 100 |
Chapter XIII.-Of Vital Beauty:-Secondly, as Generic.
| § 1. | The beauty of fulfilment of appointed function in every animal. | 101 |
| § 2. | The two senses of the word "ideal." Either it refers to action of the imagination. | 102 |
| § 3. | Or to perfection of type. | 103 |
| § 4. | This last sense how inaccurate, yet to be retained. | 103 |
| § 5. | Of Ideal form. First, in the lower animals. | 104 |
| § 6. | In what consistent. | 104 |
| § 7. | Ideal form in vegetables. | 105 |
| § 8. | The difference of position between plants and animals. | 105 |
| § 9. | Admits of variety in the ideal of the former. | 106 |
| § 10. | Ideal form in vegetables destroyed by cultivation. | 107 |
| § 11. | Instance in the Soldanella and Ranunculus. | 108 |
| § 12. | The beauty of repose and felicity, how consistent with such ideal. | 108 |
| § 13. | The ideality of Art. | 109 |
| § 14. | How connected with the imaginative faculties. | 109 |
| § 15. | Ideality, how belonging to ages and conditions. | 110 |
Chapter XIV.-Of Vital Beauty:-Thirdly, in Man.
| § 1. | Condition of the human creature entirely different from that of the lower animals. | 111 |
| § 2. | What room here for idealization. | 111 |
| § 3. | How the conception of the bodily ideal is reached. | 112 |
| § 4. | Modifications of the bodily ideal owing to influence of mind. First, of intellect. | 113 |
| § 5. | Secondly, of the moral feelings. | 113 |
| § 6. | What beauty is bestowed by them. | 115 |
| § 7. | How the soul culture interferes harmfully with the bodily ideal. | 115 |
| § 8. | The inconsistency among the effects of the mental virtues on the form. | 116 |
| § 9. | Is a sign of God's kind purpose towards the race. | 116 |
| § 10. | Consequent separation and difference of ideals. | 117 |
| § 11. | The effects of the Adamite curse are to be distinguished from signs of its immediate activity. | 118 |
| § 12. | Which latter only are to be banished from ideal form. | 118 |
| § 13. | Ideal form is only to be obtained by portraiture. | 119 |
| § 14. | Instances among the greater of the ideal Masters. | 119 |
| § 15. | Evil results of opposite practice in modern times. | 120 |
| § 16. | The right use of the model. | 121 |
| § 17. | Ideal form to be reached only by love. | 121 |
| § 18. | Practical principles deducible. | 122 |
| § 19. | Expressions chiefly destructive of ideal character. 1st, Pride. | 122 |
| § 20. | Portraiture ancient and modern. | 123 |
| § 21. | Secondly, Sensuality. | 123 |
| § 22. | How connected with impurity of color. | 124 |
| § 23. | And prevented by its splendor. | 124 |
| § 24. | Or by severity of drawing. | 125 |
| § 25. | Degrees of descent in this respect: Rubens, Correggio, and Guido. | 125 |
| § 26. | And modern art. | 126 |
| § 27. | Thirdly, ferocity and fear. The latter how to be distinguished from awe. | 126 |
| § 28. | Holy fear, how distinct from human terror. | 127 |
| § 29. | Ferocity is joined always with fear. Its unpardonableness. | 127 |
| § 30. | Such expressions how sought by painters powerless and impious. | 128 |
| § 31. | Of passion generally. | 129 |
| § 32. | It is never to be for itself exhibited—at least on the face. | 130 |
| § 33. | Recapitulation. | 131 |
Chapter XV.-General Conclusions respecting the Theoretic Faculty.
| § 1. | There are no sources of the emotion of beauty more than those found in things visible. | 133 |
| § 2. | What imperfection exists in visible things. How in a sort by imagination removable. | 134 |
| § 3. | Which however affects not our present conclusions. | 134 |
| § 4. | The four sources from which the pleasure of beauty is derived are all divine. | 134 |
| § 5. | What objections may be made to this conclusion. | 135 |
| § 6. | Typical beauty may be æsthetically pursued. Instances. | 135 |
| § 7. | How interrupted by false feeling. | 136 |
| § 8. | Greatness and truth are sometimes by the Deity sustained and spoken in and through evil men. | 137 |
| § 9. | The second objection arising from the coldness of Christian men to external beauty. | 138 |
| § 10. | Reasons for this coldness in the anxieties of the world. These anxieties overwrought and criminal. | 139 |
| § 11. | Evil consequences of such coldness. | 140 |
| § 12. | Theoria the service of Heaven. | 140 |
SECTION II.
OF THE IMAGINATIVE FACULTY.
Chapter I.-Of the Three Forms of Imagination.
| § 1. | A partial examination only of the imagination is to be attempted. | 142 |
| § 2. | The works of the metaphysicians how nugatory with respect to this faculty. | 143 |
| § 3. | The definition of D. Stewart, how inadequate. | 143 |
| § 4. | This instance nugatory. | 144 |
| § 5. | Various instances. | 145 |
| § 6. | The three operations of the imagination. Penetrative, associative, contemplative. | 146 |
Chapter II.-Of Imagination Associative.
| § 1. | Of simple conception. | 147 |
| § 2. | How connected with verbal knowledge. | 148 |
| § 3. | How used in composition. | 148 |
| § 4. | Characteristics of composition. | 149 |
| § 5. | What powers are implied by it. The first of the three functions of fancy. | 150 |
| § 6. | Imagination not yet manifested. | 150 |
| § 7. | Imagination is the correlative conception of imperfect component parts. | 151 |
| § 8. | Material analogy with imagination. | 151 |
| § 9. | The grasp and dignity of imagination. | 152 |
| § 10. | Its limits. | 153 |
| § 11. | How manifested in treatment of uncertain relations. Its deficiency illustrated. | 154 |
| § 12. | Laws of art, the safeguard of the unimaginative. | 155 |
| § 13. | Are by the imaginative painter despised. Tests of imagination. | 155 |
| § 14. | The monotony of unimaginative treatment. | 156 |
| § 15. | Imagination never repeats itself. | 157 |
| § 16. | Relation of the imaginative faculty to the theoretic. | 157 |
| § 17. | Modification of its manifestation. | 158 |
| § 18. | Instances of absence of imagination.—Claude, Gaspar Poussin. | 158 |
| § 19. | Its presence.—Salvator, Nicolo Poussin, Titian, Tintoret. | 159 |
| § 20. | And Turner. | 160 |
| § 21. | The due function of Associative imagination with respect to nature. | 161 |
| § 22. | The sign of imaginative work is its appearance of absolute truth. | 161 |
Chapter III.-Of Imagination Penetrative.
| § 1. | Imagination penetrative is concerned not with the combining but apprehending of things. | 163 |
| § 2. | Milton's and Dante's description of flame. | 163 |
| § 3. | The imagination seizes always by the innermost point. | 164 |
| § 4. | It acts intuitively and without reasoning. | 165 |
| § 5. | Signs of it in language. | 165 |
| § 6. | Absence of imagination, how shown. | 166 |
| § 7. | Distinction between imagination and fancy. | 166 |
| § 8. | Fancy how involved with imagination. | 168 |
| § 9. | Fancy is never serious. | 169 |
| § 10. | Want of seriousness the bar to high art at the present time. | 169 |
| § 11. | Imagination is quiet; fancy, restless. | 170 |
| § 12. | The detailing operation of fancy. | 170 |
| § 13. | And suggestive, of the imagination. | 171 |
| § 14. | This suggestiveness how opposed to vacancy. | 172 |
| § 15. | Imagination addresses itself to imagination. | 173 |
| Instances from the works of Tintoret. | 173 | |
| § 16. | The entombment. | 174 |
| § 17. | The Annunciation. | 174 |
| § 18. | The Baptism of Christ. Its treatment by various painters. | 176 |
| § 19. | By Tintoret. | 177 |
| § 20. | The Crucifixion. | 178 |
| § 21. | The Massacre of innocents. | 179 |
| § 22. | Various works in the Scuola di San Rocco. | 181 |
| § 23. | The Last Judgment. How treated by various painters. | 181 |
| § 24. | By Tintoret. | 182 |
| § 25. | The imaginative verity, how distinguished from realism. | 183 |
| § 26. | The imagination how manifested in sculpture. | 184 |
| § 27. | Bandinelli, Canova, Mino da Fiesole. | 184 |
| § 28. | Michael Angelo. | 185 |
| § 29. | Recapitulation. The perfect function of the imagination is the intuitive perception of ultimate truth. | 188 |
| § 30. | Imagination how vulgarly understood. | 190 |
| § 31. | How its cultivation is dependent on the moral feelings. | 190 |
| § 32. | On independence of mind. | 191 |
| § 33. | And on habitual reference to nature. | 191 |
Chapter IV.-Of Imagination Contemplative.
| § 1. | Imagination contemplative is not part of the essence, but only a habit or mode of the faculty. | 192 |
| § 2. | The ambiguity of conception. | 192 |
| § 3. | Is not in itself capable of adding to the charm of fair things. | 193 |
| § 4. | But gives to the imagination its regardant power over them. | 194 |
| § 5. | The third office of fancy distinguished from imagination contemplative. | 195 |
| § 6. | Various instances. | 197 |
| § 7. | Morbid or nervous fancy. | 200 |
| § 8. | The action of contemplative imagination is not to be expressed by art. | 201 |
| § 9. | Except under narrow limits.—1st. Abstract rendering of form without color. | 201 |
| § 10. | Of color without form. | 202 |
| § 11. | Or of both without texture. | 202 |
| § 12. | Abstraction or typical representation of animal form. | 203 |
| § 13. | Either when it is symbolically used. | 204 |
| § 14. | Or in architectural decoration. | 205 |
| § 15. | Exception in delicate and superimposed ornament. | 206 |
| § 16. | Abstraction necessary from imperfection of materials. | 206 |
| § 17. | Abstractions of things capable of varied accident are not imaginative. | 207 |
| § 18. | Yet sometimes valuable. | 207 |
| § 19. | Exaggeration. Its laws and limits. First, in scale of representation. | 208 |
| § 20. | Secondly, of things capable of variety of scale. | 209 |
| § 21. | Thirdly, necessary in expression of characteristic features on diminished scale. | 210 |
| § 22. | Recapitulation. | 211 |