§ 6. Change, and its influence on beauty § 7. The love of change. How morbid and evil § 8. The conducing of variety towards Unity of Subjection 9. And towards Unity of Sequence § 10. The nature of Proportion. First, Of Apparent Proportion § 11. The value of Apparent Proportion in Curvature § 12. How produced in natural forms. § 13. Apparent Proportion in lines. § 14. Error of Burke in this matter. § 15. Constructive Proportion. Its influence in plants § 16. And animals § 17. Summary CHAPTER VII.-OF REPOSE, OR THE TYPE OF DIVINE PERMANENCE § 1. Universal feeling respecting the necessity of repose in art. Its sources. § 2. Repose, how expressed in matter §3. The necessity to Repose of an implied energy § 4. Mental Repose, how noble 5. Its universal value as a test of art § 6. Instances in the Laocoon and Theseus § 7. And in altar tombs. CHAPTER VIII.-OF SYMMETRY, OR THE TYPE OF DIVINE JUSTICE § 1. Symmetry, what, and how found in organic nature. § 2. How necessary in art § 3. To what its agreeableness is referable. Various instances § 4. Especially in religious art CHAPTER IX.-OF PURITY, OR THE TYPE OF DIVINE ENERGY § 1. The Influence of Light, as a sacred symbol § 2. The Idea of Purity connected with it § 3. Originally derived from conditions of matter § 4. Associated ideas adding to the power of the impression. Influence of clearness § 5. Perfect Beauty of Surface, in what consisting. 128 129 129 130 § 6. Purity only metaphorically a type of sinlessness § 7. Energy, how expressed by purity of matter § 8. And of colour. § 9. Spirituality, how so expressed . PAGE 131 132 133 134 CHAPTER X.-OF MODERATION, OR THE TYPE OF GOVERNMENT BY LAW § 1. Meaning of the terms "Chasteness" and "Refinement" § 2. How referable to temporary fashions § 3. How to the perception of Completion § 4. Finish, by great masters esteemed essential § 5. Moderation, its nature and value § 8. How difficult of attainment, yet essential to all good 6. It is the girdle of Beauty § 7. How found in natural curves and colours CHAPTER XI.-GENERAL INFERENCES RESPECTING TYPICAL BEAUTY § 1. The subject incompletely treated, yet admitting of general conclusions CHAPTER XII.-OF VITAL BEAUTY. I. OF RELATIVE VITAL BEAUTY § 2. The perfection of the Theoretic faculty as concerned with vital Beauty, is Charity 3. Only with respect to plants, less affection than sympathy § 4. Which is proportioned to the appearance of Energy in the Plants § 5. This sympathy is unselfish and does not regard utility § 6. Especially with respect to animals. § 7. And it is destroyed by evidences of mechanism 8. The second perfection of the Theoretic faculty as concerned with life, is justice of moral judgment 9. How impeded § 10. The influence of moral expression § 11. As also in plants § 12. Recapitulation 148 150 151 CHAPTER XIII.-II. OF GENERIC VITAL BEAUTY ΡΔΟΣ § 1. The beauty of fulfilment of appointed function in every animal 163 § 2. The two senses of the word Ideal. Either it refers to action of the imagination § 3. Or to perfection of type . § 4. This last sense, how inaccurate, yet to be retained § 5. Of Ideal form. First, in the lower animals § 6. In what consistent . § 7. Ideal form in vegetables § 8. The difference of position between plants and animals § 9. Admits of variety in the Ideal of the former § 10. Ideal form in vegetables destroyed by cultivation § 11. Instance in the Soldanella and Ranunculus 164 166 166 § 12. The Beauty of repose and felicity, how consistent with such Ideal 172 § 13. The ideality of art § 14. How connected with the Imaginative faculties § 15. Ideality, how belonging to ages and conditions CHAPTER XIV.-III. OF VITAL BEAUTY IN MAN § 1. Condition of the human creature entirely different from that of the lower animals. § 2. What room here for idealization § 3. How the conception of the bodily Ideal is reached. § 4. Modifications of the bodily Ideal owing to influence of mind. First, of Intellect § 7. How the Soul-culture interferes harmfully with the bodily Ideal 182 § 8. The inconsistency among the effects of the Mental Virtues on the form 182 § 9. Is a sign of God's kind purpose towards the race 183 § 10. Consequent separation and difference of Ideals 184 § 11. The effects of the Adamite curse are to be distinguished from signs of its immediate activity § 12. Which latter only are to be banished from Ideal form § 15. Evil results of opposite practice in modern times § 16. Ideal form to be reached only by Love § 17. Practical principles deducible § 18. Expressions chiefly destructive of Ideal Character. First, Pride § 19. Portraiture, ancient and modern § 20. Secondly, Sensuality § 21. How connected with impurity of colour § 22. And prevented by its splendour § 23. Or by severity of drawing § 24. Degrees of descent in this respect: Rubens, Correggio, and Guido § 25. And modern art PAGE 191 191 192 198 199 200 § 31. It is never to be for itself exhibited-at least on the face § 32. Recapitulation 204 205 § 26. Thirdly, Ferocity and Fear. The latter how to be distinguished from Awe § 27. Holy Fear, how distinct from human Terror § 28. Ferocity is joined always with Fear. Its unpardonableness § 29. Such expressions, how sought by powerless and impious 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 § 2. What imperfection exists in visible things. How in a sort by imagination removable § 3. Which, however, affects not our present conclusions § 4. The four sources from which the sense of Beauty is derived are all Divine § 5. What objections may be made to this conclusion § 6. Typical beauty may be æsthetically pursued. Instances § 7. How interrupted by false feeling § 8. Greatness and truth are sometimes by the Deity sustained and spoken in and through evil men 9. The second objection arising from the coldness of Christian § 10. Reasons for this coldness in the anxieties of the world. § 12. Theoria the service of Heaven 217 SECTION II OF THE IMAGINATIVE FACULTY CHAPTER I.-OF THE THREE FORMS OF IMAGINATION PAGE § 1. A partial examination only of the Imagination is to be attempted 223 § 2. The works of the Metaphysicians, how nugatory with respect to this faculty 224 3. D. Stewart's definition, how inadequate 224 § 6. The three operations of the Imagination: Penetrative, Associative, Contemplative 228 § 5. What powers are implied by it. The first of the three functions of Fancy 232 § 6. Imagination not yet manifested 233 § 7. Imagination associative is the co-relative conception of imperfect component parts . § 11. How manifested in treatment of uncertain relations. Its deficiency illustrated 237 § 12. Laws of art, the safeguard of the unimaginative 239 § 13. Are by the imaginative painter despised. Tests of imagination 239 § 14. The monotony of unimaginative treatment 240 § 15. Imagination never repeats itself 241 § 16. Relation of the Imaginative faculty to the Theoretic § 18. Instance of absence of Imagination,-Claude, Gaspar Poussin § 19. Its presence,-Salvator, Nicolo Poussin, Titian, Tintoret. 243 243 § 20. And Turner 245 § 21. The due function of Associative Imagination with respect to nature 246 § 22. The sign of imaginative work is its appearance of absolute truth 247 |