The Complete Works of John Ruskin, المجلد 21

John Ruskin

Reuwee, Wattley & Walsh, 1891

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Continued	25

PAGE	29

OF THE CENTRAL MOUNTAINS	30

18	30

Imagination how vulgarly understood 444	30

And these are in or through creature forms familiar to us 471	30

Illustrated from the works of Turner and Stanfield	40

PART III	44

Of the false opinion that beauty is usefulness Com pare Chap xii 5	254

The twofold operation of custom It deadens sensation but confirms affection	255

Instances	256

Of the false opinion that beauty depends on the associa tion of ideas	257

Association accidental The extent of its influence	258

The dignity of its function	259

How it is connected with impressions of beauty	260

And what caution it renders necessary in the examina tion of them	261

Average paintings of Switzerland Its real spirit	48

885	53

The use of considering geological truths	66

Characters of loose earth and soil	79

Effect of ripple on distant water	104

Effect of rippled water on horizontal and inclined images	106

Deflection of images on agitated water	107

Various licenses or errors in waterpainting of Claude Cuyp Vandevelde	109

And Canaletto	111

Why unpardonable	113

The Dutch painters of sea	114

Ruysdael Claude and Salvator	116

Nicholas Poussin	117

Venetians and Florentines Conclusion	118

OF WATER AS PAINTED BY THE MODERNS 1 General power of the moderns in painting quiet water The lakes of Fielding	120

The calm rivers of De Wint J Holland etc	121

As given by Nesfield	122

His color and painting of sea	123

Its high aim at character	124

But deficiency in the requisite quality of grays	125

Works of Stanfield His perfect knowledge and power	126

But want of feeling General sum of truth presented by modern art	127

OF WATER AS PAINTED BY TURNER 1 The difficulty of giving surface to smooth water	128

Morbid clearness occasioned in painting of water by dis tinctness of reflections	129

How avoided by Turner	130

All reflections on distant water are distinct	131

The error of Vandevelde	132

Difference in arrangement of parts between the reflected object and its image	133

The boldness and judgment shown in the observance of it	134

The texture of surface in Turners painting of calm water	135

Its united qualities	136

Relation of various circumstances of past agitation etc by the most trifling incidents as in the Cowes	137

In scenes on the Loire and Seine	138

Expression of contrary waves caused by recoil from shore	139

Various other instances	140

His drawing of distant rivers	142

His drawing of falling water with peculiar expression of weight	143

The abandonment and plunge of great cataracts How given by him	144

Difference in the action of water when continuous and when interrupted The interrupted stream fills the hollows of its bed	145

But the continuous stream takes the shape of its bed	146

25 Turners careful choice of the historical truth	147

His exquisite drawing of the continuous torrent in the Llanthony Abbey	148

Various cases	149

Seapainting Impossibility of truly representing foam	150

Character of shorebreakers also inexpressible	151

Their effect how injured when seen from the shore	152

Turners expression of heavy rolling sea	153

With peculiar expression of weight	154

Peculiar action of recoiling waves	155

Open seas of Turners earlier times	157

Effect of sea after prolonged storm	159

Turners noblest work the painting of the deep open sea in the Slave Ship	161

Its united excellences and perfection as a whole	162

SECTION VI	163

Laws common to all forest trees Their branches do not taper but only divide	164

And care of nature to conceal the parallelism	165

The trees of Gaspar Poussin	166

The truth as it is given by J D Harding	167

Boughs in consequence of this law must diminish where they divide Those of the old masters often do not	168

Boughs must multiply as they diminish Those of the old masters do not	169

Boughdrawing of Salvator	170

All these errors especially shown in Claudes sketches and concentrated in a work of G Poussins	172

Boughdrawing of Titian	173

Boughdrawing of Turner	175

Leafage Its variety and symmetry	176

Perfect regularity of Poussin	177

How contradicted by the treepatterns of G Poussin	178

How followed by Creswick	179

Perfect unity in natures foliage	180

GENERAL REMARKS RESPECTING THE TRUTH	193

CONCLUSION MODERN ART AND MODERN	199

The feelings of different artists are incapable of full com parison	200

Especially because they are equally manifested in the treatment of all subjects	201

General conclusions to be derived from our past inves tigation	202

Truth a standard of all excellence	203

Yet associated with a certain degree of judgment	204

General incapability of modern critics	205

How the press may really advance the cause of art	206

By which the public defraud themselves	207

Necessity of finishing works of art perfectly	208

Sketches not sufficiently encouraged	209

The duty and after privileges of all students	210

What should be their general aim	212

Duty of the press with respect to the works of Turner	214

OF IDEAS OF BEAUTY SECTION I	218

And of what importance considered 4 Its proper sense	221

How falsely applied in these times	222

How to be averted	223

Division of the pursuits of men into subservient and objective	227

Their relative dignities	228

Object of the present section	230

OF THE THEORETIC FACULTY AS CONCERNED WITH PLEASURES OF SENSE 1 Explanation of the term theoretic	231

Use of the terms Temperate and Intemperate	232

Right use of the term intemperate	233

Grounds of inferiority in the pleasures which are sub jects of intemperance	234

Evidence of higher rank in pleasures of sight and hear ing	235

How the lower pleasures may be elevated in rank	236

Ideas of beauty how essentially moral	237

9 How degraded by heartless reception	238

OF ACCURACY AND INACCURACY IN IMPRES SIONS OF SENSE PAGE 1 By what test is the health of the perceptive faculty to be determined?	240

And in what sense may the terms Right and Wrong be attached to its conclusions?	241

What power we have over impressions of sense	242

Depends on acuteness of attention	243

What duty is attached to this power over impressions of sense	244

How rewarded	245

Errors induced by the power of habit	246

The large scope of matured judgment	247

How distinguishable from false taste	248

The danger of a spirit of choice	249

With what liabilities to error	251

The term beauty how limitable in the outset Divided into typical and vital	252

OF FALSE OPINIONS HELD CONCERNING BEAUTY 1 Of the false opinion that truth is beauty and vice versa	253

FIRST OF INFINITY OR THE TYPE OF DIVINE INCOMPREHENSIBILITY 1 Impossibility of adequately treating the subject	263

The child instinct respecting space	265

Whereto this instinct is traceable	266

Infinity how necessary in art	267

Conditions of its necessity	268

How the dignity of treatment is proportioned to the ex pression of infinity	269

Examples among the Southern schools	270

Among the Venetians	271

Other modes in which the power of infinity is felt	272

The beauty of curvature	273

The beauty of gradation	274

How necessary in Art	275

Infinity not rightly implied by vastness	276

The general conception of divine Unity	277

The glory of all things is their Unity	278

The several kinds of unity Subjectional Original Of sequence and of membership	279

Unity of membership How secured	280

Variety Why required	281

Change and its influence on beauty	282

The love of change How morbid and evil	283

The conducing of variety towards unity of subjection	284

And towards unity of sequence	286

The value of apparent proportion in curvature	289

How by nature obtained	290

Apparent proportion in melodies of line	291

Constructive proportion Its influence in plants	293

And animals	294

Universal feeling respecting the necessity of repose in art Its sources	296

Repose how expressed in matter	297

The necessity to repose of an implied energy	298

Its universal value as a test of art	299

Instances in the Laocoon and Theseus	300

And in altar tombs	302

OF SYMMETRY OR THE TYPE OF DIVINE JUSTICE 1 Symmetry what and how found in organic nature	304

To what its agreeableness is referable Various in stances	305

Especially in religious art	306

OF PURITY OR THE TYPE OF DIVINE ENERGY 1 The influence of light as a sacred symbol	307

Originally derived from conditions of matter	308

Associated ideas adding to the power of the impression Influence of clearness	309

Purity only metaphorically a type of sinlessness	310

Energy how expressed by purity of matter	311

And of color	312

Spirituality how so expressed	313

OF THE IMAGINATIVE FACULTY	340

Portraiture ancient and modern	364

How connected with impurity of color	366

Or by severity of drawing	367

And modern art	368

Thirdly ferocity and fear The latter how to be dis tinguished from awe	369

Ferocity is joined always with fear Its unpardonable ness	370

Of passion generally	372

It is never to be for itself exhibitedat least on the face	373

33 Recapitulation	374

GENERAL CONCLUSIONS RESPECTING THE THEORETIC FACULTY 1 There are no sources of the emotion of beauty more than those found i...	376

What imperfection exists in visible things How in a sort by imagination removable	377

The four sources from which the pleasure of beauty is derived are all divine	378

Typical beauty may be æsthetically pursued Instances	379

How interrupted by false feeling	380

Greatness and truth are sometimes by the Deity sus tained and spoken in and through evil men	381

The second objection arising from the coldness of Chris tian men to external beauty	383

Reasons for this coldness in the anxieties of the world These anxieties over wrought and criminal	384

Theoria the service of Heaven	385

OF THE THREE FORMS OF IMAGINATION PAGE 1 A partial examination only of the imagination is to be attempted	386

The works of the metaphysicians how nugatory with re spect to this faculty	387

The definition of D Stewart how inadequate	388

This instance nugatory	389

The three operations of the imagination Penetrative associative contemplative	391

OF IMAGINATION ASSOCIATIVE 1 Of simple conception	392

How connected with verbal knowledge	393

How used in composition	394

What powers are implied by it The first of the three functions of fancy	395

Imagination not yet manifested	396

Material analogy with imagination	397

The grasp and dignity of imagination	399

Its limits	400

Laws of art the safeguard of the unimaginative	402

The monotony of unimaginative treatment	403

Imagination never repeats itself	404

Relation of the imaginative faculty to the theoretic	405

Instances of absence of imagination Claude Gaspar Poussin	406

Its presence Salvator Nicolo Poussin Titian Tinto ret	407

only a habit or mode of the faculty	447

Is not in itself capable of adding to the charm of fair things	448

But gives to the imagination its regardant power over them	449

The third office of fancy distinguished from imagination contemplative	451

Various instances	453

Morbid or nervous fancy	456

The action of contemplative imagination is not to be ex pressed by art	457

Except under narrow limits 1st Abstract rendering of form without color	458

Of color without form	459

Abstraction or typical representation of animal form	461

14 Or in architectural decoration	462

Exception in delicate and superimposed ornament	463

Abstraction necessary from imperfection of materials	464

Abstractions of things capable of varied accident are not imaginative	465

Exaggeration Its laws and limits First in scale of representation	466

Secondly of things capable of variety of scale	467

Thirdly necessary in expression of characteristic feat ures on diminished scale	468

Recapitulation	469

Of the SUPERHUMAN IDEAL 1 The subject is not to be here treated in detail	470

is possible	473

Supernatural character expressed by modification of accessories	475

Landscape of the religious painters Its character is eminently symmetrical	476

Landscape of Perugino and Raffaelle	477

Such Landscape is not to be imitated	478

Color and decoration Their use in representations of the Supernatural	479

Ideal form of the body itself of what variety suscepti ble	481

Symmetry How valuable	482

Its scope how limited	483

Conclusion	484

Addenda	486

طبعات أخرى - عرض جميع المقتطفات

The Complete Works of John Ruskin, المجلد 21
John Ruskin‏
عرض مقتطف - 1987

The Complete Works of John Ruskin, المجلد 21
John Ruskin‏
عرض مقتطف - 1910

The Complete Works of John Ruskin ...
John Ruskin‏
عرض مقتطف - 1905

عبارات ومصطلحات مألوفة

aerial perspective Alps angle Apennines appear artist bank battle of Marengo beauty beds blue boughs Canaletto cast character chiaroscuro Claude Claude's clear clouds color concave convex Copley Fielding curves dark reflections delicate distance drawing duckweed earth edge effect evidence expression exquisite fall farther feeling fissures foam foliage foreground give gray green ground Hence hills horizontal imagination impression instance John Varley lake landscape laws leaves less Leucippus limestone lines local color look mass mind mountain nature ness never objects observe old masters paint painters peaks perfect pict picture Pitti palace precipice rendering ridges ripple rise river Rivers of France rock Salvator's seen shadow shadow falls sharp shore side slope snow soil space spect speculum metal spray Stanfield stream summit surface thing tion torrent touch transparent trees truth Turner Vandevelde vertical water-painting waves whole

مقاطع مشهورة

الصفحة 310 - That which doth assign unto each thing the kind, that which doth moderate the force and power, that which doth appoint the form and measure, of working, the same we term a law.‏

تظهر في 238 من الكتب من 1793-2008

الصفحة 411 - Here hung those lips that I have kissed I know not how oft. Where be your gibes now? your gambols? your songs? your flashes of merriment, that were wont to set the table on a roar?‏

تظهر في 971 من الكتب من 1793-2008

الصفحة 411 - O Proserpina, For the flowers now, that, frighted, thou let'st fall From Dis's* waggon ! daffodils, That come before the swallow dares, and take The winds of March with beauty ; violets dim, But sweeter than the lids of Juno's eyes, Or Cytherea's breath ; pale primroses, That die unmarried, ere they can behold Bright Phoebus in his strength, a malady Most incident to maids ; bold...‏

تظهر في 380 من الكتب من 1788-2008

الصفحة 405 - And fuelled entrails thence conceiving fire, Sublimed* with mineral fury, aid the winds, And leave a singed bottom all involved With stench and smoke: such resting found the sole Of unblest feet.‏

تظهر في 334 من الكتب من 1795-2007

الصفحة 382 - On the other side, Incensed with indignation, Satan stood Unterrified, and like a comet burned, That fires the length of Ophiuchus huge In the arctic sky, and from his horrid hair Shakes pestilence and war.‏

تظهر في 253 من الكتب من 1805-2007

الصفحة 409 - The imagination sees the heart and inner nature, and makes them felt, but is often obscure, mysterious, and interrupted, in its giving of outer detail. Take an instance. A writer with neither imagination nor fancy, describing a fair lip, does not see it, but thinks about it, and about what is said of it, and calls it well-turned, or rosy, or delicate, or lovely, or afflicts us * Compare Arist.‏

تظهر في 77 من الكتب من 1848-2008

الصفحة 368 - On every corse there stood. This seraph-band, each waved his hand; It was a heavenly sight! They stood as signals to the land, Each one a lovely light; This seraph-band, each waved his hand, No voice did they impart — No voice; but oh! the silence sank Like music on my heart.‏

تظهر في 422 من الكتب من 1798-2007

الصفحة 154 - It is a sunset on the Atlantic, after prolonged storm ; but the storm is partially lulled, and the torn and streaming rain-clouds are moving in scarlet lines to lose themselves in the hollow of the night.‏

تظهر في 67 من الكتب من 1847-2008

الصفحة 448 - Rock-rooted, stretched athwart the vacancy Its swinging boughs, to each inconstant blast Yielding one only response, at each pause, In most familiar cadence : with the howl, The thunder and the hiss of homeless streams Mingling its solemn song...‏

تظهر في 119 من الكتب من 1824-2006

الصفحة 410 - With that she dashed her on the lips So dyed double red ; Hard was the heart that gave the blow, Soft were those lips that bled.‏

تظهر في 115 من الكتب من 1767-2007

معلومات المراجع

العنوان	The Complete Works of John Ruskin, المجلد 21 The Complete Works of John Ruskin, John Ruskin
المؤلف	John Ruskin
الناشر	Reuwee, Wattley & Walsh, 1891

تصدير الاقتباس	BiBTeX EndNote RefMan

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