pt. 3. Of the imaginative and theoretic faculties. 4th ed

John Ruskin

Smith, Elder, 1873

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OF IDEAS OF BEAUTY	1

What power we have over impressions of sense	3

How to be averted	7

Evidence of higher rank in pleasures of sight and hearing	15

By what test is the health of the perceptive faculty to be determined?	18

How exalted by affection	24

With what liabilities to error	26

Examples among the Southern schools	41

The grasp and dignity of imagination	147

Its limits	148

How manifested in treatment of uncertain relations Its deficiency illustrated	149

Laws of art the safeguard of the unimaginative	150

The monotony of unimaginative treatment	151

Imagination never repeats itself	152

Instance of absence of ImaginationClaude Gaspar Poussin	153

Its presenceSalvator Nicolo Poussin Titian Tintoret	154

Among the Venetians	42

Other modes in which the power of Infinity is felt	43

The Beauty of Curvature	44

The Beauty of Gradation	45

How necessary in art	46

Of Unity or the Type of the Divine Com prehensiveness 1 The general conception of Divine Unity	48

The several kinds of Unity Subjectional Original Of Sequence and of Membership	49

Unity of Membership How secured	50

Variety Why required	51

Change and its influence on beauty	52

The love of change How morbid and evil	53

And towards Unity of Sequence	55

The value of Apparent Proportion in Curvature	57

How produced in natural forms	58

Apparent Proportion in lines	59

Constructive Proportion Its influence in plants	60

And animals	61

Of Repose or the Type of Divine Permanence 1 Universal feeling respecting the necessity of repose in art Its sources	63

Repose how expressed in matter	64

The necessity to repose of an implied energy	65

Its universal value as a test of art	66

Instances in the Laocoon and Theseus	67

And in altar tombs	68

Of Symmetry or the Type of Divine Justice 1 Symmetry what and how found in organic nature	70

To what its agreeableness is referable Various instances	71

Of Purity or the Type of Divine Energy 1 The Influence of Light as a sacred symbol 73 22123	73

22	77

The subject incompletely treated yet admitting of general conclusions	83

Which is proportioned to the appearance of Energy in the Plant	90

PAGE	95

12	96

PAGE	102

13	106

III Of Vital Beauty in	108

Consequent separation and difference of Ideals	114

16	118

Secondly Sensuality	120

General Conclusions respecting the Theoretic	129

What imperfection exists in visible things How in a sort by imagina tion removable	130

What objections may be made to this conclusion	131

How interrupted by false feeling	132

Greatness and truth are sometimes by the Deity sustained and spoken in and through evil men	133

The second objection arising from the coldness of Christian men to external Beauty	134

Reasons for this coldness in the anxieties of the world These anxieties overwrought and criminal	135

Theoria the service of Heaven	136

SECTION II	137

The works of the Metaphysicians how nugatory with respect to this faculty	138

This instance nugatory	139

Various instances	140

Penetrative Associative Contemplative	141

Of Imagination Associative 1 Of simple Conception	142

How connected with Verbal knowledge	143

Characteristics of Composition	144

Imagination not yet manifested	145

Imagination associative is the corelative conception of imperfect com ponent parts	146

And Turner	155

The due function of Associative imagination with respect to nature	156

Of Imagination Penetrative 1 Imagination penetrative is concerned not with the combining but the apprehending of things	158

The Imagination seizes always by the innermost point	159

It acts intuitively and without reasoning	160

Absence of Imagination how shown	161

Fancy how involved with Imagination	163

Fancy is never serious	164

Fancy restless	165

And suggestive of the Imagination	166

Imagination addresses itself to Imagination	168

The Annunciation	169

The Baptism of Christ Its treatment by various painters	170

By Tintoret	171

The Crucifixion	172

The Massacre of the Innocents	174

Various works in the Scuola di San Rocco	175

The Last Judgment How treated by various painters	176

By Tintoret	177

The imaginative Verity how distinguished from realism	178

Bandinelli Canova Mino da Fiesole	179

Recapitulation The perfect function of the Imagination is the intui tive perception of Ultimate Truth	182

Imagination how vulgarly understood	183

How its cultivation is dependent on the moral feelings	184

And on habitual reference to nature	185

Of Imagination Contemplative 1 Imagination contemplative is not part of the essence but only a habit or mode of the faculty	186

Is not in itself capable of adding to the charm of fair things	187

But gives to the Imagination its regardant power over them	188

The third office of Fancy distinguished from Imagination contemplative	189

Various instances	191

Morbid or Nervous Fancy	194

Except under narrow limits First Abstract rendering of form with out colour	195

Or of both without texture	196

Abstraction or typical representation of animal form	197

Either when it is symbolically used	198

Exception in delicate and superimposed ornament	199

Abstraction necessary from imperfection of materials	200

Exaggeration Its laws and limits First in scale of representation	201

Secondly of things capable of variety of scale	202

Thirdly necessary in expression of characteristic features on diminished scale	203

Recapitulation	204

Of the Superhuman Ideal 1 The subject is not to be here treated in detail	205

And these are in or through creature forms familiar to us	206

First of the expression of Inspiration	207

No representation of that which is more than creature is possible	208

Supernatural character expressed by modification of accessaries	209

Landscape of Benozzo Gozzoli	210

Such landscape is not to be imitated	211

Colour and Decoration their use in representations of the Super natural	212

And Colour pure	213

Anatomical development how far admissible	214

Symmetry how valuable	215

Conclusion	216

ADDENDA	219

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Vanlige uttrykk og setninger

Adamite agreeable Angelico angels animal artist bodily body Brera Gallery Caliban Camillo Procaccini Chap character clouds colour combination conceive conception creature David leaning degree delight dependent desire dignity Divine evident evil exist expression fancy farther fear feeling Fra Bartolomeo function Gentile Bellini Geum montanum Giorgione Giotto glory hand heart human form ideal art ideal form imperfect impressions instance intellect kind landscape Laocoon less light look lower Masaccio matter measure Michael Angelo mind Mino da Fiesole modes moral nature necessary noble object observed operation outward painful painted painter passion perception perfect Perugino picture Pitti Palace plant pleasure portraiture present proportion pure purity Raffaelle received rendered repose respect rightly sense sensual signs Soldanella alpina species spirit strength suppose Theoretic faculty things Tintoret tion Titian tree trunk truth typical beauty unity Venice virtue visible VITAL BEAUTY

Bibliografisk informasjon

Tittel	pt. 3. Of the imaginative and theoretic faculties. 4th ed Volum 2 av Modern Painters, John Ruskin
Forfatter	John Ruskin
Utgiver	Smith, Elder, 1873
Original fra	Harvard University
Digitalisert	27. jun 2007

Eksporter sitat	BiBTeX EndNote RefMan

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