§ 27. Holy Fear, how distinct from human Terror § 28. Ferocity is joined always with Fear. Its unpardonableness § 31. It is never to be for itself exhibited-at least on the face § 32. Recapitulation § 2. What imperfection exists in visible things. How in a sort by 3. Which, however, affects not our present conclusions § 4. The four sources from which the sense of Beauty is derived 5. What objections may be made to this conclusion § 10. Reasons for this coldness in the anxieties of the world. These § 16. Relation of the Imaginative faculty to the Theoretic § 17. Modifications of its manifestation § 18. Instance of absence of Imagination,-Claude, Gaspar Poussin . §. 19. Its presence,-Salvator, Nicolo Poussin, Titian, Tintoret. § 21. The due function of Associative Imagination with respect to § 3. The Imagination seizes always by the innermost point § 4. It acts intuitively and without reasoning. § 6. Absence of Imagination, how shown § 7. Distinction between Imagination and Fancy § 10. Want of seriousness, the bar to high art at the present time § 11. Imagination is quiet: Fancy restless § 14. This suggestiveness how opposed to vacancy § 15. Imagination addresses itself to Imagination: instance from § 21. The Massacre of the Innocents § 22. Various works in the Scuola di San Rocco § 25. The Imaginative Verity, how distinguished from realism 3. Is not in itself capable of adding to the charm of fair things § 4. But gives to the Imagination its regardant power over them § 5. The third office of Fancy distinguished from Imagination contemplative § 6. Various instances § 7. Morbid or Nervous Fancy § 8. The action of Contemplative Imagination is not to be ex pressed by art § 9. Except under narrow limits.-First, Abstract rendering of form without colour § 10. Of colour without form § 11. Or of both without texture § 12. Abstraction or typical representation of animal form 13. Either when it is symbolically used § 14. Or in architectural decoration. PAGE 290 291 292 295 298 299 299 301 302 303 304 305 § 15. Exception in delicate and superimposed ornament. 306 § 16. Abstraction necessary from imperfection of materials 307 § 17. Abstractions of things capable of varied accident are not imaginative 308 § 18. Yet sometimes valuable 309 § 19. Exaggeration. Its laws and limits. First, in scale of repre § 20. Secondly, of things capable of variety of scale § 21. Thirdly, necessary in expression of characteristic features on diminished scale § 22. Recapitulation CHAPTER V.-OF THE SUPERHUMAN IDEAL § 1. The subject is not to be here treated in detail § 3. And these are in or through creature forms familiar to us § 2. The conceivable modes of manifestation of Spiritual Beings are four § 7. No representation of that which is more than creature is § 6. First, of the expression of Inspiration possible § 8. Supernatural character expressed by modification of accessaries 319 § 9. Landscape of the religious painters. Its character is eminently symmetrical |