The Works of John Ruskin: Modern painters, v.1-5

John Ruskin

J. Wiley, 1889

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PART	1

Only with respect to plants less affection than sympathy 91	4

Whereto this instinct is traceable	5

Especially with respect to animals	6

And it is destroyed by evidences of mechanism	7

The second perfection of the theoretic faculty as concerned with life is justice of moral judgment	8

How impeded	9

The influence of moral signs in expression	10

The entombment	174

The Baptism of Christ Its treatment by various painters	176

By Tintoret	177

The Crucifixion	178

The Massacre of innocents	179

Various works in the Scuola di San Rocco	181

By Tintoret	182

The imaginative verity how distinguished from realism	183

As also in plants	11

Recapitulation	12

Other modes in which the power of infinity is felt	13

Infinity not rightly implied by vastness	19

Of Unity or the Type of the Divine Compre	50

Of Symmetry or the Type of Divine Justice	72

Secondly as Generic 1 The beauty of fulfilment of appointed function in every animal	101

The two senses of the word ideal Either it refers to ac tion of the imagination	103

Of Ideal form First in the lower animals	104

Ideal form in vegetables	105

Admits of variety in the ideal of the former	106

Ideal form in vegetables destroyed by cultivation	107

Instance in the Soldanella and Ranunculus	108

The ideality of Art	109

Ideality how belonging to ages and conditions	110

Thirdly in Man 1 Condition of the human creature entirely different from that of the lower animals	111

How the conception of the bodily ideal is reached	112

Modifications of the bodily ideal owing to influence of mind First of intellect	113

What beauty is bestowed by them	115

The inconsistency among the effects of the mental virtues on the form	116

Consequent separation and difference of ideals	117

20	123

And modern	126

General Conclusions respecting the Theo	133

PAGE	137

SECTION II	142

The works of the metaphysicians how nugatory with respect to this faculty	143

This instance nugatory	144

Various instances	145

The three operations of the imagination Penetrative associ ative contemplative	146

Of Imagination Associative 1 Of simple conception	147

How connected with verbal knowledge	148

Characteristics of composition	149

What powers are implied by it The first of the three func tions of fancy	150

Imagination is the correlative conception of imperfect compo nent parts	151

The grasp and dignity of imagination	152

Its limits	153

How manifested in treatment of uncertain relations Its de ficiency illustrated	154

Laws of art the safeguard of the unimaginative	155

The monotony of unimaginative treatment	156

Imagination never repeats itself	157

Modification of its manifestation	158

Its presence Salvator Nicolo Poussin Titian Tintoret	159

And Turner	160

The due function of Associative imagination with respect to nature	161

Of Imagination Penetrative 1 Imagination penetrative is concerned not with the combining but apprehending of things	163

The imagination seizes always by the innermost point	164

It acts intuitively and without reasoning	165

Absence of imagination how shown	166

Fancy how involved with imagination	168

Fancy is never serious	169

Imagination is quiet fancy restless	170

And suggestive of the imagination	171

This suggestiveness how opposed to vacancy	172

Imagination addresses itself to imagination	173

The imagination how manifested in sculpture	184

Michael Angelo	185

Recapitulation The perfect function of the imagination is the intuitive perception of ultimate truth	188

Imagination how vulgarly understood	190

On independence of mind	191

Of Imagination Contemplative 1 Imagination contemplative is not part of the essence but only a habit or mode of the faculty	192

Is not in itself capable of adding to the charm of fair things	193

But gives to the imagination its regardant power over them	194

The third office of fancy distinguished from imagination con templative	195

Various instances	197

Morbid or nervous fancy	200

The action of contemplative imagination is not to be expressed by art	201

Of color without form	202

Abstraction or typical representation of animal form	203

Either when it is symbolically used	204

Or in architectural decoration	205

Exception in delicate and superimposed ornament	206

Abstractions of things capable of varied accident are not	207

Exaggeration Its laws and limits First in scale of repre sentation	208

Secondly of things capable of variety of scale	209

Thirdly necessary in expression of characteristic features on diminished scale	210

Recapitulation	211

Of the Superhuman Ideal 1 The subject is not to be here treated in detail	212

And these are in or through creature forms familiar to us	213

1st Of the expression of inspiration	214

No representation of that which is more than creature is pos sible	215

Supernatural character expressed by modification of acces sories	216

Landscape of the religious painters Its character is emi nently symmetrical	217

Landscape of Perugino and Raffaelle	218

Color and Decoration Their use in representations of the Supernatural	219

Decoration so used must be generic 220	222

Its scope how limited	223

Conclusion	224

ADDENDA	225

Of the differences of rank in pleasures of sense	2

Variety Why required	5

The necessity of submission in early stages of judgment	10

64	18

General Inferences respecting Typical Beauty	21

50	50

The value of apparent proportion in curvature	60

VI	70

VII	77

8888888	86

Thirdly Grotesque	92

X	124

Greatness and truth are sometimes by the Deity sustained	137

Of False Opinions held concerning Beauty	182

31	211

46	220

Instances	251

The Moral of Landscape	280

32	299

Of the Teachers of Turner	308

APPENDIX	333

Other editions - View all

The Works of John Ruskin: Modern painters, v.1-5
John Ruskin
Full view - 1887

Common terms and phrases

Adamite affection agreeable Albert Durer angels animals appearance artist beauty Benozzo Gozzoli Brera Gallery Chap character clouds color conceive conception Correggio creature Dante degree delight desire dignity Divine evident evil existence expression false fancy farther fear feeling function Giorgione Giotto give glory Greek hand heart heaven Homer human idea ideal ideal art imagination imperfect impressions infinite instance intellect kind landscape Laocoon less light lines look lower Masaccio matter means Michael Angelo mind modes moral mountains nature necessary ness never noble object observe operation painful painter painting passion pathetic fallacy perception perfect Perugino picture Pitti palace pleasure Pre-Raphaelitism present proportion pure purity reader received repose respecting rock seen sense sensual shadow sight specting spirit stone Stones of Venice suppose taste theoretic faculty things thought Tintoret tion Titian trees true trunk truth ture unity word

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Bibliographic information

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Title	The Works of John Ruskin: Modern painters, v.1-5 Volume 2 of The Works of John Ruskin, John Ruskin
Author	John Ruskin
Publisher	J. Wiley, 1889

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