The Works of John Ruskin: Modern painters.-v.5-6. The stones of Venice.-v.7. Seven lamps of architecture. Lectures on architecture and painting. The study of architecture. Poetry of architecture.-v.8. Two paths ... on art. Lectures on art. Political economy of art. Pre-Raphaelitism. Notes on the construction of sheepfolds. King of the golden river.-v.9. Elements of drawing. Elements of perspective. Aratra pentelici.-v.10. Ariadne Florentina. Fors clavigera.-v.11. Sesame and lilies. Ethics of the dust. Crown of wild olive. Queen of the air.-v.12. Time and tide. Unto this last. Munera pulveris. Eagle's nest

Front Cover
Wiley, 1885
 

Contents

Conditions of its necessity
42
How the dignity of treatment is proportioned to the expres sion of infinity
43
Examples among the Southern schools
44
Among the painters of landscape
45
The beauty of curvature
46
The beauty of gradation
47
How necessary in Art
48
Infinity not rightly implied by vastness
49
Of Unity or the Type of the Divine Compre hensiveness 1 The general conception of divine Unity
50
The several kinds of unity Subjectional Original Of sequence and of membership
51
Unity of membership How secured
52
Variety Why required
53
Change and its influence on beauty
54
The love of change How morbid and evil
55
And towards unity of sequence
57
The value of apparent proportion in curvature
60
How by nature obtained
61
Error of Burke in this matter
62
Constructive proportion Its influence in plants
63
And animals
64
Of Repose or the Type of Divine Perma nence 1 Universal feeling respecting the necessity of repose in art Its sources
65
To what its agreeableness is referable Various instances
73
signs of its immediate activity
118
Ideal form is only to be obtained by portraiture
119
Evil results of opposite practice in modern times
120
The right use of the model
121
18 Practical principles deducible
122
20
123
How connected with impurity of color
124
Or by severity of drawing
125
And modern art
126
Holy fear how distinct from human terror
127
Such expressions how sought by painters powerless and
129
It is never to be for itself exhibitedat least on the face
130
2 8 8
131
General Conclusions respecting the Theo retic Faculty 1 There are no sources of the emotion of beauty more than those found in things visible
133
What imperfection exists in visible things How in a sort by imagination removable
134
What objections may be made to this conclusion
135
How interrupted by false feeling
136
Greatness and truth are sometimes by the Deity sustained and spoken in and through evil men
137
The second objection arising from the coldness of Christian men to external beauty
138
tions of fancy
150
The monotony of unimaginative treatment
156
22
161
Of Imagination Penetrative
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
14 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
30
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
Ideal form of the body itself of what variety susceptible
221
Symmetry How valuable
222
Its scope how limited
223
Conclusion
224
ADDENDA
225
Imagination penetrative is concerned not with the combining
1
Of the false opinion that beauty results from custom Com
3
The dignity of its function
10
1
16
General Inferences respecting Typical Beauty
21
First Religious
44
VI
61
61
70
44
77
Typical beauty not created for mans sake
86
anxieties overwrought and criminal 139
139
Evil consequences of such coldness 140
140
Of Classical Landscape
168
31
211
Of Modern Landscape
248
The Moral of Landscape
280
808
308
APPENDIX
333

Common terms and phrases

Popular passages

Page 37 - From God who is our home. Heaven lies about us in our infancy. Shades of the prison-house begin to close Upon the growing boy; But he beholds the light and whence it flows, He sees it in his joy. The youth who daily farther from the East Must travel, still is Nature's priest, And, by the vision splendid, Is on his way attended. At length the man perceives it die away And fade into the light of common day.
Page 143 - And missing thee, I walk unseen On the dry smooth-shaven green. To behold the wandering moon, Riding near her highest noon. Like one that had been led astray Through the heaven's wide pathless way, And oft, as if her head she bowed, Stooping through a fleecy cloud.
Page 288 - Fear and trembling Hope, Silence and Foresight ; Death the Skeleton And Time the Shadow ; — there to celebrate, As in a natural temple scattered o'er With altars undisturbed of mossy stone, United worship ; or in mute repose To lie, and listen to the mountain flood Murmuring from Glaramara's inmost caves, 1803.
Page 165 - Here hung those lips that I have kissed I know not how oft. Where be your gibes now? your gambols? your songs? your flashes of merriment, that were wont to set the table on a roar?
Page 82 - That which doth assign unto each thing the kind, that which doth moderate the force and power, that which doth appoint the form and measure, of working, the same we term a law.
Page 195 - Inaudible as dreams ! the thin blue flame Lies on my low-burnt fire, and quivers not ; Only that film, which fluttered on the grate, Still flutters there, the sole unquiet thing. Methinks its motion in this hush of Nature Gives it dim sympathies with me who live, Making it a companionable form, Whose puny flaps and freaks the idling Spirit By its own moods interprets, everywhere Echo or mirror seeking of itself, And makes a toy of Thought.
Page 90 - It doth not love the shower, nor seek the cold : This neither is its courage nor its choice, But its necessity in being old. " The sunshine may not cheer it, nor the dew ; It cannot help itself in its decay ; Stiff in its members, withered, changed of hue.
Page 167 - Who is she that looketh forth as the morning, fair as the moon, clear as the sun, and terrible as an army with banners?
Page 202 - The sun came dazzling thro' the leaves, And flamed upon the brazen greaves Of bold Sir Lancelot. A red-cross knight for ever kneel'd To a lady in his shield, That sparkled on the yellow field, Beside remote Shalott.
Page 9 - I look for ghosts ; but none will force Their way to me : 'tis falsely said That there was ever intercourse Between the living and the dead ; For, surely, then I should have sight Of him I wait for day and night, With love and longings infinite.

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