APPENDIX I. THE MSS. OF "MODERN PAINTERS," VOL. II., WITH I. IMPRESSIONS OF BEAUTY: AT "THE FOUNTAIN OF THE 2. SENSUAL BEAUTY DEfined 3. "NATURAL ASSOCIATION OF IDEAS IN COLOURS 4. ASSOCIATION AND BEAUTY: AN ARGUMENT FROM THE CAMPAGNA AND THE LAKE OF BRIENZ 5. SUBLIMITY 6. OF THE SUPERNATURAL AS AN ELEMENT IN THE SUB LIME 7. THE Morbid Love of HORROR 8. THE FEELING OF AWE IN RELATION TO INDIVIDUAL CHARACTER 9. THE NOBLE CAPACITY OF TERROR IO. "SUPPLEMENTARY NOTES ON TERROR ARISING FROM WEAKNESS OF HEALTH" II. HISTORIC ART II. AN ADDITIONAL CHAPTER, BEING "NOTES ON A PAINTER'S PROFESSION AS ENDING IRRELIGIOUSLY" III. LETTERS ILLUSTRATIVE OF "MODERN PAINTERS," VOL. II. 1. TO THE REV. W. L. BROWN (DEC. 20, 1843) ON COLERIDGE AND WORDSWORTH 2. TO JOSEPH SEVERN (SEPT. 21, 1845) ON THE PROSPECTS OF ART IN ENGLAND IV. MINOR "VARIE LECTIONES" I THE MSS. OF "MODERN PAINTERS," VOL. II., WITH ADDITIONAL PASSAGES THERE are two sets of MSS. of this volume, or connected with it:-(I.) the Allen (now Morgan MS.: see Vol. III. p. 682). This consists of various notes and materials for the book. (II.) The Hilliard MS., given by Ruskin to the late Mrs. Hilliard, and now in the possession of Mr. Frederick Hilliard, her son. This is the MS. followed, with alterations made in revision, in the printed text. (III.) Some notes, belonging to the same set as some of (I.) above, are included in the Brantwood MSS. (I.) The Allen MSS. include the first draft of a considerable portion of the volume, differing very largely from the text. These MSS. are loose sheets, roughly stitched together; the order is not consecutive, and the intended arrangement is not always easy to make out. Ruskin seems to have written pieces at different times for different portions of his intended volume. The whole of this portion of the MSS. appears to belong to 1843-1844, when, as we have seen (above, pp. xx.-xxi.), he was already at work on the volume. The scheme of the book is not the same as he ultimately adopted; though the leading idea was clearly seized from the first, and the style is easier and more flowing than that which he afterwards adopted, in imitation of Hooker, for this volume. Among these sheets is the following first plan for the volume: Sec. I. General. Ch. 1. Introductory. 2. Observations on Typical, Functional, and Sensual Beauty. 3. Attack on Association. 4. Attack on Custom. 5. Attack on Fitness. Sec. II. Typical Beauty. Ch. 1. Infinity. 2. Unity. 3. Repose. Sec. III. Beauty of Colour. Ch. 1. Of the Effect of Expression on Beauty. 2. Of Light. 3. Of Purity. Sec. V. Of Beauty and Sublimity as they exist in nature, and should be sought in Art.8 Sec. VI. Of the Imaginative Faculty, or Creation and its abuses. The reader will perceive, by turning back to the Synopsis of Contents of the volume in its printed form (pp. 11-21), that some of this arrangement survived, and that most of its subjects were, in one place or another, discussed. The most important variation is that in this first draft Ruskin takes count of a third division of Beauty-Sensual-which he afterwards discarded. He discarded it, no doubt, in order to emphasize his central proposition of the spiritual, as opposed to the "æsthetic," nature of Ideas of Beauty. But in revising the volume in 1882-1883, he noted that the question of colour required more discussion than he had given to it (see above, author's note on p. 134); in his first draft he had begun an examination of the subject, but carried it a very little way (see below, p. 368). The leading principle of the volume appears in the first page which he seems to have written of it. This is the beginning of an introductory chapter, in which he lays it down that in the perfect state Oewpía (see above, p. 7) may be the fulfilment of our existence." Man's delight in the Beauty of God's creation will then be fulfilled. "There will be but one expressionthat of Joy; one character-that of Love." This introduction was not finished. On some later sheets, however, there is another chapter, or the peroration of a chapter, in which he again explains the theory of the Beautiful, which is the subject of the volume. This chapter contains a characteristic piece of 1 [Here Ruskin adds, "and on this subject Field's Chromatography"—a reference to George Field's Chromotography; or a Treatise on Colours and Pigments and of their Powers in Painting: London, 1835.] 2 [Here he adds, "showing the mistake of Raffaelle in watered robes."] 3 The several chapters of sections v. and vi. are not mapped out in this initial plan. He notes, however, that "in chap. ii. of sec. v." he is to "show especially that in Ideal Subject the giving of knowledge is injurious by occupying the attention; and that its accessaries should be such as naturally rise and are conceived in the imagination of all, without effort, and generally tracing the effects of greatness, singularity," etc.] |