SECTION I.

OF THE THEORETIC FACULTY.

Chapter I.—Of the Rank and Relations of the Theoretic Faculty.

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[§ 1.]With what care the subject is to be approached.[1]
[§ 2.]And of what importance considered.[2]
[§ 3.]The doubtful force of the term "utility".[3]
[§ 4.]Its proper sense.[4]
[§ 5.]How falsely applied in these times.[4]
[§ 6.]The evil consequences of such interpretation. How connected with national power.[5]
[§ 7.]How to be averted.[6]
[§ 8.]Division of the pursuits of men into subservient and objective.[8]
[§ 9.]Their relative dignities.[10]
[§ 10.]How reversed through erring notions of the contemplative and imaginative faculties.[10]
[§ 11.]Object of the present section.[11]

Chapter II.—Of the Theoretic Faculty as concerned with Pleasures of Sense.

[§ 1.]Explanation of the term "theoretic".[12]
[§ 2.]Of the differences of rank in pleasures of sense.[12]
[§ 3.]Use of the terms Temperate and Intemperate.[13]
[§ 4.]Right use of the term "intemperate".[13]
[§ 5.]Grounds of inferiority in the pleasures which are subjects of intemperance.[14]
[§ 6.]Evidence of higher rank in pleasures of sight and hearing.[15]
[§ 7.]How the lower pleasures may be elevated in rank.[16]
[§ 8.]Ideas of beauty how essentially moral.[17]
[§ 9.]How degraded by heartless reception.[17]
[§ 10.]How exalted by affection.[18]

Chapter III.—Of Accuracy and Inaccuracy in Impressions of Sense.

[§ 1.]By what test is the health of the perceptive faculty to be determined?[19]
[§ 2.]And in what sense may the terms Right and Wrong be attached to its conclusions?[20]
[§ 3.]What power we have over impressions of sense.[21]
[§ 4.]Depends on acuteness of attention.[21]
[§ 5.]Ultimate conclusions universal.[22]
[§ 6.]What duty is attached to this power over impressions of sense.[22]
[§ 7.]How rewarded.[23]
[§ 8.]Especially with respect to ideas of beauty.[23]
[§ 9.]Errors induced by the power of habit.[24]
[§ 10.]The necessity of submission in early stages of judgment.[24]
[§ 11.]The large scope of matured judgment.[25]
[§ 12.]How distinguishable from false taste.[25]
[§ 13.]The danger of a spirit of choice.[26]
[§ 14.]And criminality.[27]
[§ 15.]How certain conclusions respecting beauty are by reason demonstrable.[27]
[§ 16.]With what liabilities to error.[28]
[§ 17.]The term "beauty" how limitable in the outset. Divided into typical and vital.[28]

Chapter IV.—Of False Opinions held concerning Beauty.

[§ 1.]Of the false opinion that truth is beauty, and vice versa.[30]
[§ 2.]Of the false opinion that beauty is usefulness. Compare [Chap. xii. § 5].[31]
[§ 3.]Of the false opinion that beauty results from custom. Compare [Chap. vi. § 1].[31]
[§ 4.]The twofold operation of custom. It deadens sensation, but confirms affection.[31]
[§ 5.]But never either creates or destroys the essence of beauty.[32]
[§ 6.]Instances.[32]
[§ 7.]Of the false opinion that beauty depends on the association of ideas.[33]
[§ 8.]Association. Is, 1st, rational. It is of no efficiency as a cause of beauty.[33]
[§ 9.]Association accidental. The extent of its influence.[34]
[§ 10.]The dignity of its function.[35]
[§ 11.]How it is connected with impressions of beauty.[36]
[§ 12.]And what caution it renders necessary in the examination of them.[36]

Chapter V.—Of Typical Beauty:—First, of Infinity, or the Type of Divine Incomprehensibility.

[§ 1.]Impossibility of adequately treating the subject.[38]
[§ 2.]With what simplicity of feeling to be approached.[38]
[§ 3.]The child instinct respecting space.[39]
[§ 4.]Continued in after life.[40]
[§ 5.]Whereto this instinct is traceable.[40]
[§ 6.]Infinity how necessary in art.[41]
[§ 7.]Conditions of its necessity.[42]
[§ 8.]And connected analogies.[42]
[§ 9.]How the dignity of treatment is proportioned to the expression of infinity.[43]
[§ 10.]Examples among the Southern schools.[44]
[§ 11.]Among the Venetians.[44]
[§ 12.]Among the painters of landscape.[45]
[§ 13.]Other modes in which the power of infinity is felt.[45]
[§ 14.]The beauty of curvature.[46]
[§ 15.]How constant in external nature.[46]
[§ 16.]The beauty of gradation.[47]
[§ 17.]How found in nature.[47]
[§ 18.]How necessary in Art.[48]
[§ 19.]Infinity not rightly implied by vastness.[49]

Chapter VI.—Of Unity, or the Type of the Divine Comprehensiveness.

[§ 1.]The general conception of divine Unity.[50]
[§ 2.]The glory of all things is their Unity.[50]
[§ 3.]The several kinds of unity. Subjectional. Original. Of sequence, and of membership.[51]
[§ 4]Unity of membership. How secured.[52]
[§ 5.]Variety. Why required.[53]
[§ 6.]Change, and its influence on beauty.[54]
[§ 7.]The love of change. How morbid and evil.[55]
[§ 8.]The conducing of variety towards unity of subjection.[55]
[§ 9.]And towards unity of sequence.[57]
[§ 10.]The nature of proportion. 1st, of apparent proportion.[57]
[§ 11.]The value of apparent proportion in curvature.[60]
[§ 12.]How by nature obtained.[61]
[§ 13.]Apparent proportion in melodies of line.[61]
[§ 14.]Error of Burke in this matter.[62]
[§ 15.]Constructive proportion. Its influence in plants.[63]
[§ 16.]And animals.[64]
[§ 17.]Summary.[64]

Chapter VII.—Of Repose, or the Type of Divine Permanence.

[§ 1.]Universal feeling respecting the necessity of repose in art. Its sources.[65]
[§ 2.]Repose how expressed in matter.[66]
[§ 3.]The necessity to repose of an implied energy.[66]
[§ 4.]Mental repose, how noble.[67]
[§ 5.]Its universal value as a test of art.[68]
[§ 6.]Instances in the Laocoon and Theseus.[69]
[§ 7.]And in altar tombs.[70]

Chapter VIII.—Of Symmetry, or the Type of Divine Justice.

[§ 1.]Symmetry, what and how found in organic nature.[72]
[§ 2.]How necessary in art.[72]
[§ 3.]To what its agreeableness is referable. Various instances.[73]
[§ 4.]Especially in religious art.[73]

Chapter IX.—Of Purity, or the Type of Divine Energy.

[§ 1.]The influence of light as a sacred symbol.[75]
[§ 2.]The idea of purity connected with it.[75]
[§ 3.]Originally derived from conditions of matter.[76]
[§ 4.]Associated ideas adding to the power of the impression. Influence of clearness.[76]
[§ 5.]Perfect beauty of surface, in what consisting.[77]
[§ 6.]Purity only metaphorically a type of sinlessness.[78]
[§ 7.]Energy, how expressed by purity of matter.[79]
[§ 8.]And of color.[79]
[§ 9.]Spirituality, how so expressed.[79]

Chapter X.—Of Moderation, or the Type of Government by Law.

[§ 1.]Meaning of the terms Chasteness and Refinement.[81]
[§ 2.]How referable to temporary fashions.[81]
[§ 3.]How to the perception of completion.[81]
[§ 4.]Finish, by great masters esteemed essential.[82]
[§ 5.]Moderation, its nature and value.[84]
[§ 6.]It is the girdle of beauty.[84]
[§ 7.]How found in natural curves and colors.[84]
[§ 8.]How difficult of attainment, yet essential to all good.[85]

Chapter XI.—General Inferences respecting Typical Beauty.

[§ 1.]The subject incompletely treated, yet admitting of general conclusions.[86]
[§ 2.]Typical beauty not created for man's sake.[87]
[§ 3.]But degrees of it for his sake admitted.[87]
[§ 4.]What encouragement hence to be received.[87]

Chapter XII.—Of Vital Beauty:—First, as Relative.

[§ 1.]Transition from typical to vital Beauty.[89]
[§ 2.]The perfection of the theoretic faculty as concerned with vital beauty, is charity.[90]
[§ 3.]Only with respect to plants, less affection than sympathy.[91]
[§ 4.]Which is proportioned to the appearance of energy in the plants.[92]
[§ 5.]This sympathy is unselfish, and does not regard utility.[93]
[§ 6.]Especially with respect to animals.[94]
[§ 7.]And it is destroyed by evidences of mechanism.[95]
[§ 8.]The second perfection of the theoretic faculty as concerned with life is justice of moral judgment.[96]
[§ 9.]How impeded.[97]
[§ 10.]The influence of moral signs in expression.[97]
[§ 11.]As also in plants.[99]
[§ 12.]Recapitulation.[100]

Chapter XIII.—Of Vital Beauty:—Secondly, as Generic.

[§ 1.]The beauty of fulfilment of appointed function in every animal.[101]
[§ 2.]The two senses of the word "ideal." Either it refers to action of the imagination.[102]
[§ 3.]Or to perfection of type.[103]
[§ 4.]This last sense how inaccurate, yet to be retained.[103]
[§ 5.]Of Ideal form. First, in the lower animals.[104]
[§ 6.]In what consistent.[104]
[§ 7.]Ideal form in vegetables.[105]
[§ 8.]The difference of position between plants and animals.[105]
[§ 9.]Admits of variety in the ideal of the former.[106]
[§ 10.]Ideal form in vegetables destroyed by cultivation.[107]
[§ 11.]Instance in the Soldanella and Ranunculus.[108]
[§ 12.]The beauty of repose and felicity, how consistent with such ideal.[108]
[§ 13.]The ideality of Art.[109]
[§ 14.]How connected with the imaginative faculties.[109]
[§ 15.]Ideality, how belonging to ages and conditions.[110]

Chapter XIV.—Of Vital Beauty:—Thirdly, in Man.

[§ 1.]Condition of the human creature entirely different from that of the lower animals.[111]
[§ 2.]What room here for idealization.[111]
[§ 3.]How the conception of the bodily ideal is reached.[112]
[§ 4.]Modifications of the bodily ideal owing to influence of mind. First, of intellect.[113]
[§ 5.]Secondly, of the moral feelings.[113]
[§ 6.]What beauty is bestowed by them.[115]
[§ 7.]How the soul culture interferes harmfully with the bodily ideal.[115]
[§ 8.]The inconsistency among the effects of the mental virtues on the form.[116]
[§ 9.]Is a sign of God's kind purpose towards the race.[116]
[§ 10.]Consequent separation and difference of ideals.[117]
[§ 11.]The effects of the Adamite curse are to be distinguished from signs of its immediate activity.[118]
[§ 12.]Which latter only are to be banished from ideal form.[118]
[§ 13.]Ideal form is only to be obtained by portraiture.[119]
[§ 14.]Instances among the greater of the ideal Masters.[119]
[§ 15.]Evil results of opposite practice in modern times.[120]
[§ 16.]The right use of the model.[121]
[§ 17.]Ideal form to be reached only by love.[121]
[§ 18.]Practical principles deducible.[122]
[§ 19.]Expressions chiefly destructive of ideal character. 1st, Pride.[122]
[§ 20.]Portraiture ancient and modern.[123]
[§ 21.]Secondly, Sensuality.[123]
[§ 22.]How connected with impurity of color.[124]
[§ 23.]And prevented by its splendor.[124]
[§ 24.]Or by severity of drawing.[125]
[§ 25.]Degrees of descent in this respect: Rubens, Correggio, and Guido.[125]
[§ 26.]And modern art.[126]
[§ 27.]Thirdly, ferocity and fear. The latter how to be distinguished from awe.[126]
[§ 28.]Holy fear, how distinct from human terror.[127]
[§ 29.]Ferocity is joined always with fear. Its unpardonableness.[127]
[§ 30.]Such expressions how sought by painters powerless and impious.[128]
[§ 31.]Of passion generally.[129]
[§ 32.]It is never to be for itself exhibited—at least on the face.[130]
[§ 33.]Recapitulation.[131]

Chapter XV.—General Conclusions respecting the Theoretic Faculty.

[§ 1.]There are no sources of the emotion of beauty more than those found in things visible.[133]
[§ 2.]What imperfection exists in visible things. How in a sort by imagination removable.[134]
[§ 3.]Which however affects not our present conclusions.[134]
[§ 4.]The four sources from which the pleasure of beauty is derived are all divine.[134]
[§ 5.]What objections may be made to this conclusion.[135]
[§ 6.]Typical beauty may be æsthetically pursued. Instances.[135]
[§ 7.]How interrupted by false feeling.[136]
[§ 8.]Greatness and truth are sometimes by the Deity sustained and spoken in and through evil men.[137]
[§ 9.]The second objection arising from the coldness of Christian men to external beauty.[138]
[§ 10.]Reasons for this coldness in the anxieties of the world. These anxieties overwrought and criminal.[139]
[§ 11.]Evil consequences of such coldness.[140]
[§ 12.]Theoria the service of Heaven.[140]