OHN RUSKIN H. M. CALDWELL CO., PUBLISHERS NEW YORK AND BOSTON - - - - . . CONTENTS. . . PAINTING. . . . . . . . . PAGE Characteristics of greatness of style, . . . . . 3 I. Choice of noble subject, . . . . . . . 3 2. Love of Beauty, . . . . . . . . 5 g. Sincer. ity, , . . . . . . . . 11 4. Invention, . . . . . . . . . . . 14 Historical Painting, . . . . . . . . . . 15 Hunts Light of the. World, . . . . . . . . . X7 Poetical Painting,. , . . . . . . . . . . 17 TheIdeal, . . . . . . . . . . . . . 22 The usesand abuses of imagination,. . . . . . 24 Compositions, . . . . . . . . . . 26 Raphaels Cartoon of the Charge to Peter, . . . . 29 Raphaels influence injurious to Christian Art, . . 30 The Transfiguration, -. -. . . . . . . . . 31 The histories of the Bible yet to be painted, . . . 37 Illustrated Bible, . . . . . . . . . . . . 39 Distinctive qualities in the minds of artists, . . . 42 Painting valuable as the vehicle of thought, . . . 45 Ideasof Power, . . , . . . . . . . 49 Ideas of Imitation, . . . . . . . . 50 Ideas of Truth,, , , , , . . . . . . 52 v CONTENTS. IdeasofBeauty. . . . . . . . . . . . . PA 5 G 5 E Ideas of Relation. . . . . . . . . . . . . 55 Burkes Theory of the Sublime. . . . . . . . 57 The Truths of Nature. . . . . . . . . . . 5 9 Anecdote from Mrs . Jameson. . . . . . . . . 6 0 Allrepetitionblamable. . . . . . . . . . . 62 Color less importantthan form. . . . . . . . 63 Landscapepainting. . . . . . . . . . . . 65 Titian and Tintoret. . . . . . . . . . . . 73 . . . . . . . . . . . The modern Italians. 73 The Flemish School. . . . . . . . . . . . 76 Chiaroscuro. . . . . . . . . . . . . . . 79 Tintorets Massacre of the Innocents. . . . . . 83 Tintorets Baptism of Christ. . . . . . . . . 8 6 The Ideal of Humanity. . . . . . . . . . . 8 7 Color. . . . . . . . . . . . . . . . . 8 8 A Sunset on the Campagna of Rome. . go Contrasted with an English sunset. . 91 Portrait Painting. . . . . . . . . . . . . 93 Taste for unfinished works. . . . . 97 Who decides on the merit of a picture 2 . . 101 Reynolds principles contrary to his practice. . . 105 A knowledge of rules cannot make a painter. . . 106 Anecdote of Haydn the hlusician. . . . 108 Great men choose historical subjects from the age in which they live. . . . . . . . . . . . 1 12 Imaginary portraits. . . . . . . . . . . . 1 14 Portrait of the Duke of Wellington. . . 120 Copying from the antique. . . . . . . . . . 1 21 Decorating Schools with pictures . . . . . . I23 Want of knowledge of the value of Paintings. . 130 LOSS o f valuable pictures. . . I31 The kinds of knowledge indispensable for an artist. . . 133 CONTENTS. POETRY . PAGE Distinction between a poetical and a historical statement. . . . . . . . . . . . . . . . 139 Byrons Lake of Geneva. . . . . . . . . . . 140 What is poetry . The functions of the . im . ag . ina . tion . . . . . . . . . . . . . . . . 1 1 4 4 4 3 Combination. . . . . . . . . . . . . 149 Composition. . . . . . . . . . a . . . 149 Analysis. . . . . . . . . . . . . . . 149 Action between the moral feelings and the imagination. . . . . . . . . . . . . . . . - 157 Imagination fed by external nature. . . . . . . 159 The supernatural. . . . . . . . - 161 Manifestations of spiritual being. m . e . . 161 The Greeks could not conceive of a spirit. . . 163 Bacon and Pascal. . . . . . . . . . . . . 166 Shakspeares universal grasp of nature. . . 168 No mountain passions were to be allowed in him. . . 169 Proofs of Shakspeares greatness. . . 175 Pastoral poetry. . . . . . . . . . . . . 177 Waltons Angler. . . . . . . . . . . . . 178 Sternes Sentimental Journey. . . 179 Mrs . Radcliffe and Rousseau. . . . . . . . . 180 ScottsLadyoftheLake. . . . . . . . . . 18 1 Shelleyand Wordsmorth9 . . . . . . . . . 1 82 Walter Scott. . . . . . . . . . . . . . 183 The representative of the mind of the age in literature...