Modern Painters, Volume 2 (of 5)

by John Ruskin

In this operation, if it be of little sensibility, it regards only the absolute beauty or value of the images brought before it; and takes that or those which it thinks fairest or most interesting, without any regard to their sympathy with those for whose company they are destined. Of this kind is all vulgar composition; the "Mulino" of Claude, described in the preface to the first part, being a characteristic example.

If the mind be of higher feeling, it will look to the sympathy or contrast of the features, to their likeness or dissimilarity; it will take, as it thinks best, features resembling or discordant, and if when it has put them together, it be not satisfied, it will repeat the process on the features themselves, cutting away one part and putting in another, so working more and more delicately down to the lowest details, until by dint of experiment, of repeated trials and shiftings, and constant reference to principles, (as that two lines must not mimic one another, that one mass must not be equal to another,) etc., it has morticed together a satisfactory result.

This process will be more and more rapid and effective, in proportion to the artist's powers of conception and association, these in their turn [§ 5. What powers are implied by it. The first of the three functions of fancy.]depending on his knowledge and experience. The distinctness of his powers of conception will give value, point, and truth to every fragment that he draws from memory. His powers of association, and his knowledge of nature will pour out before him in greater or less number and appositeness the images from which to choose. His experience guides him to quick discernment in the combination, when made, of the parts that are offensive and require change.

The most elevated power of mind of all these, is that of association, by which images apposite or resemblant, or of whatever kind wanted, are called up quickly and in multitudes. When this power is very brilliant, it is called fancy, not that this is the only meaning of the word fancy, but it is the meaning of it in relation to that function of the imagination which we are here considering; for fancy has three functions; one subordinate to each of the three functions of the imagination.

Great differences of power are manifested among artists in this respect, some having hosts of distinct images always at their command, and rapidly discerning resemblance or contrast; others having few images, and obscure, at their disposal, nor readily governing those they have.

Where the powers of fancy are very brilliant, the picture becomes highly interesting; if her images are systematically and rightly combined, and truthfully rendered, it will become even impressive and instructive; if wittily and curiously combined, it will be captivating and entertaining.

But all this time the imagination has not once shown itself. All this [§ 6. Imagination not yet manifested.](except the gift of fancy) may be taught, all this is easily comprehended and analyzed; but imagination is neither to be taught, nor by any efforts to be attained, nor by any acuteness of discernment dissected or analyzed.

We have seen that in composition the mind can only take cognizance of likeness or dissimilarity, or of abstract beauty among the ideas it brings together. But neither likeness nor dissimilarity secures harmony. We saw in the chapter on unity that likeness destroyed harmony or unity of membership, and that difference did not necessarily secure it, but only that particular imperfection in each of the harmonizing parts which can only be supplied by its fellow part. If, therefore, the combination made is to be harmonious, the artist must induce in each of its component parts (suppose two only, for simplicity's sake,) such imperfection as that the other shall put it right. If one of them be perfect by itself, the other will be an excrescence. Both must be faulty when separate, and each corrected by the presence of the other. If he can accomplish this, the result will be beautiful; it will be a whole, an organized body with dependent members;—he is an inventor. If not, let his separate features be as beautiful, as apposite, or as resemblant as they may, they form no whole. They are two members glued together. He is only a carpenter and joiner.

Now, the conceivable imperfections of any single feature are infinite. It is impossible, therefore, to fix upon a form of imperfection in the [§ 7. Imagination is the correlative conception of imperfect component parts.]one, and try with this all the forms of imperfection of the other until one fits; but the two imperfections must be corelatively and simultaneously conceived.

This is imagination, properly so called, imagination associative, the grandest mechanical power that the human intelligence possesses, and one which will appear more and more marvellous the longer we consider it. By its operation, two ideas are chosen out of an infinite mass, (for it evidently matters not whether the imperfections be conceived out of the infinite number conceivable, or selected out of a number recollected,) two ideas which are separately wrong, which together shall be right, and of whose unity, therefore, the idea must be formed at the instant they are seized, as it is only in that unity that either are good, and therefore only the conception of that unity can prompt the preference. Now, what is that prophetic action of mind, which, out of an infinite mass of things that cannot be tried together, seizes, at the same instant two that are fit for each other, together right; yet each disagreeable alone.