[§ 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]

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]