Works, Volumes 2-3

John Ruskin

J. Wiley & sons, 1887

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PART	1

Division of the pursuits of men into subservient and objective	8

The effects of the Adamite curse are to be distinguished from	11

Secondly as Generic	12

Of Accuracy and Inaccuracy in Impressions	19

First of Infinity or the Type of Divine Incomprehensibility 1 Impossibility of adequately treating the subject	38

The child instinct respecting space	39

Continued in after life	40

And suggestive of the imagination	171

This suggestiveness how opposed to vacancy	172

Imagination addresses itself to imagination	173

The entombment	174

The Baptism of Christ Its treatment by various painters	176

By Tintoret	177

The Crucifixion	178

The Massacre of innocents	179

Infinity how necessary in art	41

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

14 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

14 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

Of Moderation or the Type of Government	81

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

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

Practical principles deducible	122

Portraiture ancient and modern	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

33 Recapitulation	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

What power we have over impressions of sense	137

The second objection arising from the coldness of Christian men to external beauty	138

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

CHAPTER IIOf 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

19	159

And Turner	160

The due function of Associative imagination with respect to nature	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

Various works in the Scuola di San Rocco	181

By Tintoret	182

The imaginative verity how distinguished from realism	183

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

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

Explanation of the term theoretic	1

Depends on acuteness of attention	4

Evidence of higher rank in pleasures of sight and hearing 15	7

The difference of position between plants and animals	8

The necessity of submission in early stages of judgment	10

How connected with the imaginative faculties	14

With what liabilities to error	16

General Inferences respecting Typical Beauty	21

VI	23

Secondly Profane	61

First Purist	70

75	75

Secondly Naturalist	77

81	81

87	87

Thirdly Grotesque	92

Of Finish	108

108	109

23	124

anxieties overwrought and criminal 139	139

Evil consequences of such coldness 140	140

Of the Novelty of Landscape	144

Of the Pathetic Fallacy	152

but apprehending of things 163	163

Of Classical Landscape	168

Of False Opinions held concerning Beauty	182

First the Fields	191

30	210

cascases	230

The dignity of its function	267

33	300

Of the Teachers of Turner	308

APPENDIX	333

Other editions - View all

Works, Volume 11
John Ruskin
Full view - 1887

Works, Volume 11
John Ruskin
Snippet view - 1910

Works, Volume 11
John Ruskin
Snippet view - 1989

Common terms and phrases

Adamite agreeable Albert Durer Angelico angels animals appearance artist body Brera Gallery Chap character Charles Bell Christ clouds color conceive conception Correggio creature Dante dark degree delight Divine effect evident evil expression false fancy farther fear feeling Fra Angelico Giorgione Giotto give gradation Greek hand heart heaven human idea ideal ideal art imagination imperfect impressions infinite infinity instance intellect kind landscape Laocoon less light lines look lower Masaccio matter means Michael Angelo mind modes moral mountain nature necessary ness never noble object observe operation painful painter painting passion pathetic fallacy Paul Veronese perfect Perugino picture Pitti palace pleasure Pre-Raphaelitism present proportion pure purity reader received respecting rock seen sense shadow spirit stone Stones of Venice suppose theoretic faculty things thought Tintoret tion Titian trees true trunk truth ture Turner unity whole word

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Bibliographic information

Title	Works, Volumes 2-3 Works, John Ruskin
Author	John Ruskin
Publisher	J. Wiley & sons, 1887
Original from	Harvard University
Digitized	15 Apr 2008

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