SECTION II.

OF THE IMAGINATIVE FACULTY.

Chapter I.—Of the Three Forms of Imagination.

[§ 1.]A partial examination only of the imagination is to be attempted.[142]
[§ 2.]The works of the metaphysicians how nugatory with respect to this faculty.[143]
[§ 3.]The definition of D. Stewart, how inadequate.[143]
[§ 4.]This instance nugatory.[144]
[§ 5.]Various instances.[145]
[§ 6.]The three operations of the imagination. Penetrative, associative, contemplative.[146]

Chapter II.—Of Imagination Associative.

[§ 1.]Of simple conception.[147]
[§ 2.]How connected with verbal knowledge.[148]
[§ 3.]How used in composition.[148]
[§ 4.]Characteristics of composition.[149]
[§ 5.]What powers are implied by it. The first of the three functions of fancy.[150]
[§ 6.]Imagination not yet manifested.[150]
[§ 7.]Imagination is the correlative conception of imperfect component parts.[151]
[§ 8.]Material analogy with imagination.[151]
[§ 9.]The grasp and dignity of imagination.[152]
[§ 10.]Its limits.[153]
[§ 11.]How manifested in treatment of uncertain relations. Its deficiency illustrated.[154]
[§ 12.]Laws of art, the safeguard of the unimaginative.[155]
[§ 13.]Are by the imaginative painter despised. Tests of imagination.[155]
[§ 14.]The monotony of unimaginative treatment.[156]
[§ 15.]Imagination never repeats itself.[157]
[§ 16.]Relation of the imaginative faculty to the theoretic.[157]
[§ 17.]Modification of its manifestation.[158]
[§ 18.]Instances of absence of imagination.—Claude, Gaspar Poussin.[158]
[§ 19.]Its presence.—Salvator, Nicolo Poussin, Titian, Tintoret.[159]
[§ 20.]And Turner.[160]
[§ 21.]The due function of Associative imagination with respect to nature.[161]
[§ 22.]The sign of imaginative work is its appearance of absolute truth.[161]

Chapter III.—Of Imagination Penetrative.

[§ 1.]Imagination penetrative is concerned not with the combining but apprehending of things.[163]
[§ 2.]Milton's and Dante's description of flame.[163]
[§ 3.]The imagination seizes always by the innermost point.[164]
[§ 4.]It acts intuitively and without reasoning.[165]
[§ 5.]Signs of it in language.[165]
[§ 6.]Absence of imagination, how shown.[166]
[§ 7.]Distinction between imagination and fancy.[166]
[§ 8.]Fancy how involved with imagination.[168]
[§ 9.]Fancy is never serious.[169]
[§ 10.]Want of seriousness the bar to high art at the present time.[169]
[§ 11.]Imagination is quiet; fancy, restless.[170]
[§ 12.]The detailing operation of fancy.[170]
[§ 13.]And suggestive, of the imagination.[171]
[§ 14.]This suggestiveness how opposed to vacancy.[172]
[§ 15.]Imagination addresses itself to imagination.[173]
Instances from the works of Tintoret.[173]
[§ 16.]The entombment.[174]
[§ 17.]The Annunciation.[174]
[§ 18.]The Baptism of Christ. Its treatment by various painters.[176]
[§ 19.]By Tintoret.[177]
[§ 20.]The Crucifixion.[178]
[§ 21.]The Massacre of innocents.[179]
[§ 22.]Various works in the Scuola di San Rocco.[181]
[§ 23.]The Last Judgment. How treated by various painters.[181]
[§ 24.]By Tintoret.[182]
[§ 25.]The imaginative verity, how distinguished from realism.[183]
[§ 26.]The imagination how manifested in sculpture.[184]
[§ 27.]Bandinelli, Canova, Mino da Fiesole.[184]
[§ 28.]Michael Angelo.[185]
[§ 29.]Recapitulation. The perfect function of the imagination is the intuitive perception of ultimate truth.[188]
[§ 30.]Imagination how vulgarly understood.[190]
[§ 31.]How its cultivation is dependent on the moral feelings.[190]
[§ 32.]On independence of mind.[191]
[§ 33.]And on habitual reference to nature.[191]

Chapter IV.—Of Imagination Contemplative.

[§ 1.]Imagination contemplative is not part of the essence, but only a habit or mode of the faculty.[192]
[§ 2.]The ambiguity of conception.[192]
[§ 3.]Is not in itself capable of adding to the charm of fair things.[193]
[§ 4.]But gives to the imagination its regardant power over them.[194]
[§ 5.]The third office of fancy distinguished from imagination contemplative.[195]
[§ 6.]Various instances.[197]
[§ 7.]Morbid or nervous fancy.[200]
[§ 8.]The action of contemplative imagination is not to be expressed by art.[201]
[§ 9.]Except under narrow limits.—1st. Abstract rendering of form without color.[201]
[§ 10.]Of color without form.[202]
[§ 11.]Or of both without texture.[202]
[§ 12.]Abstraction or typical representation of animal form.[203]
[§ 13.]Either when it is symbolically used.[204]
[§ 14.]Or in architectural decoration.[205]
[§ 15.]Exception in delicate and superimposed ornament.[206]
[§ 16.]Abstraction necessary from imperfection of materials.[206]
[§ 17.]Abstractions of things capable of varied accident are not imaginative.[207]
[§ 18.]Yet sometimes valuable.[207]
[§ 19.]Exaggeration. Its laws and limits. First, in scale of representation.[208]
[§ 20.]Secondly, of things capable of variety of scale.[209]
[§ 21.]Thirdly, necessary in expression of characteristic features on diminished scale.[210]
[§ 22.]Recapitulation.[211]

Chapter V.—Of the Superhuman Ideal.

[§ 1.]The subject is not to be here treated in detail.[212]
[§ 2.]The conceivable modes of manifestation of Spiritual Beings are four.[212]
[§ 3.]And these are in or through creature forms familiar to us.[213]
[§ 4.]Supernatural character may be impressed on these either by phenomena inconsistent with their common nature (compare [Chap. iv. § 16]).[213]
[§ 5.]Or by inherent Dignity.[213]
[§ 6.]1st. Of the expression of inspiration.[214]
[§ 7.]No representation of that which is more than creature is possible.[215]
[§ 8.]Supernatural character expressed by modification of accessories.[216]
[§ 9.]Landscape of the religious painters. Its character is eminently symmetrical.[217]
[§ 10.]Landscape of Benozzo Gozzoli.[217]
[§ 11.]Landscape of Perugino and Raffaelle.[218]
[§ 12.]Such Landscape is not to be imitated.[218]
[§ 13.]Color, and Decoration. Their use in representations of the Supernatural.[219]
[§ 14.]Decoration so used must be generic.[220]
[§ 15.]And color pure.[220]
[§ 16.]Ideal form of the body itself, of what variety susceptible.[221]
[§ 17.]Anatomical development how far admissible.[221]
[§ 18.]Symmetry. How valuable.[221]
[§ 19.]The influence of Greek art, how dangerous.[222]
[§ 20.]Its scope, how limited.[223]
[§ 21.]Conclusion.[224]
ADDENDA.[225]