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

John Ruskin

J. Wiley, 1887

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By what test is the health of the perceptive faculty to	1

cascascos cas as cascas as cas cas coscow 2 Mil	2

Only with respect to plants less affection than sympathy 91	4

How rewarded	7

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

The danger of a spirit of choice	13

The term beauty how limitable in the outset Divided	29

Of Symmetry or the Type of Divine Justice	41

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

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

3 To what its agreeableness is referable Various instances	73

plants	92

This sympathy is unselfish and does not regard utility	93

Especially with respect to animals	94

And it is destroyed by evidences of mechanism	95

The second perfection of the theoretic faculty as concerned with life is justice of moral judgment	96

How impeded	97

As also in plants	99

Recapitulation	100

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	102

Or to perfection of type	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

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

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

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

Miltons and Dantes description of flame	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 entombment	174

The Baptism of Christ Its treatment by various painters	176

By Tintoret	177

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

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

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

The inconsistency among the effects of the mental virtues	8

Reasons for this coldness in the anxieties of the world These	10

Other modes in which the power of infinity is felt	13

Infinity not rightly implied by vastness	19

General Inferences respecting Typical Beauty	21

31	31

The general conception of divine Unity	45

51	51

And towards unity of sequence	57

Constructive proportion Its influence in plants	63

3888	86

Instances	115

the form 116	116

10 Consequent separation and difference of ideals 117	117

anxieties overwrought and criminal 139	139

Evil consequences of such coldness 140	140

156	156

Of Imagination Penetrative	163

33	265

How it is connected with impressions of beauty	302

Overige edities - Alles bekijken

The Works of John Ruskin: Modern painters, v.1-5
John Ruskin
Volledige weergave - 1889

Veelvoorkomende woorden en zinsdelen

Adamite Albert Durer Angelico angels animals appearance artist beauty Benozzo Gozzoli Brera Gallery Chap CHAPTER character clouds color conceive conception Correggio creature Dante degree delight Divine evident evil existence expression fact false fancy farther fear feeling Fra Angelico Giorgione Giotto glory Greek hand heart heaven 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 modern modes moral mountain nature necessary ness never noble object observe operation painful painter painting passion pathetic fallacy Paul Veronese perception perfect Perugino picture Pitti palace pleasure Pre-Raphaelite present proportion pure purity reader received respecting rock seems seen sense shadow speak spirit stone Stones of Venice suppose theoretic faculty things thought Tintoret tion Titian trees true trunk truth ture Turner unity whole word

Populaire passages

Pagina 14 - Qual di permei fu maestro, e di stile Che ritraesse 1' ombre, ei tratti, eh" ivi Mirar farieno uno ingegno sottile. Morti li morti, ei vivi parean vivi : Non vide me' di me, chi vide il vero, Quant' io calcai, fin che chinato givi." DANTE, Purgatorio, canto xii.‎

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Pagina 270 - of his stories, and in casual reflections or exclamations arising out of their plot, and therefore sincerely uttered; as that of Marmion : " Oh, what a tangled web we weave, When first we practise to deceive !" But the reflections which are founded, not on events, but‎

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Pagina 160 - And fear of Him who is a righteous Judge,— Why do not these prevail for human life, To keep two hearts together, that began Their springtime with one love, and that have need Of mutual pity and forgiveness, sweet To grant, or be received ; while that poor bird— O, come and hear him ! Thou who‎

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Pagina 159 - Where'er you walk, cool gales shall fan the glade ! Trees, where you sit, shall crowd into a shade ; Your praise the birds shall chant in every grove, And winds shall waft it to the powers above. But would you sing,‎

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Pagina 158 - moment to be overborne by the feeling so far as to exclaim— " Where shall I find him ? angels, tell me where. You know him ; he is near you ; point him out Shall I see glories beaming from his brow, Or trace his footsteps by the rising flowers‎

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Pagina 141 - On the other side, Incensed with indignation, Satan stood Unterrifled, and like a comet burned That fires the length of Ophiuchus huge In the arctic sky, and from his horrid hair Shakes pestilence and war.‎

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Pagina 221 - So also in Isa. xxxv. 7., the prevalence of righteousness and peace over all evil is thus foretold : " In the habitation of dragons, where each lay, shall be grass, with reeds and‎

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Pagina 259 - Now, from the summit to the plain, Waves all the hill with yellow grain ; And on the landscape as I look, Nought do I see unchanged remain, Save the rude cliffs and chiming brook ; To me they make a heavy moan Of early friendships past and gone.‎

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Pagina 152 - Thus, with half-shut, suffused eyes, he stood ; While from beneath some cumb'rous boughs hard by, With solemn step, an awful goddess came. And there was purport in her looks for him, Which he with eager guess began to read : Perplexed the while, melodiously he said, ‎

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Pagina 159 - hill Torn from Pelorus, or the shattered side Of thundering ^Etna, whose combustible And fuell'd entrails thence conceiving fire, Sublimed with mineral fury, aid the winds, And leave a singed bottom, all involved With stench and smoke‎

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Bibliografische gegevens

Titel	The Works of John Ruskin: Modern painters, v.1-5 Volume 2 van The Works of John Ruskin, John Ruskin
Auteur	John Ruskin
Uitgever	J. Wiley, 1887

Citatie exporteren	BiBTeX EndNote RefMan

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