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.