ΤΟ THE LANDSCAPE ARTISTS OF ENGLAND This Work IS RESPECTFULLY DEDICATED, BY THEIR SINCERE ADMIRER, THE AUTHOR. SYNOPSIS OF CONTENTS. PART III. OF IDEAS OF BEAUTY. SECTION I OF THE THEORETIC FACULTY, CHAPTER I.-Of the Rank and Relations of the Theoretic Faculty. § 1. With what care the subject is to be approached.. § 2. And of what importance considered.... § 3. The doubtful force of the term "utility”. § 4. Its proper sense........ § 5. How falsely applied in these times.. § 6. The evil consequences of such interpretation. How connected with national power... § 7. How to be averted.. § 8. Division of the pursuits of men into subservient and objective. § 9. Their relative dignities.. . . . . § 10. How reversed through erring notions of the contemplative and imaginative faculties.... § 11. Object of the present section.. CHAPTER II.—Of the Theoretic Faculty as concerned with Pleasures of Sense. § 1. Explanation of the term "theoretic"... § 2. Of the differences of rank in pleasures of sense. 3. Use of the terms Temperate and Intemperate.. § 4. Right use of the term "intemperate". ..... § 5. Grounds of inferiority in the pleasures which are subjects of intemperance..... § 6. Evidence of higher rank in pleasures of sight and hearing... 15 § 7. How the lower pleasures may be elevated in rank. 16 § 8. Ideas of beauty how essentially moral.. 9. How degraded by heartless reception.. § 10. How exalted by affection.... CHAPTER III.—Of Accuracy and Inaccuracy in Impressions of Sense. § 1. By what test is the health of the perceptive faculty to be determined?....... § 2. And in what sense may the terms Right and Wrong be attached to its conclusions ?.... § 3. What power we have over impressions of sense. 4. Depends on acuteness of attention... § 5. Ultimate conclusions universal.... 6. What duty is attached to this power over impressions of sense..... 7. How rewarded.... § 8. Especially with respect to ideas of beauty. 9. Errors induced by the power of habit.. 10. The necessity of submission in early stages of judgment.... PAGE § 11. The large scope of matured judgment.. § 12. How distinguishable from false taste. 13. The danger of a spirit of choice.... 14. And criminality... 25 25 26 27 15. How certain conclusions respecting beauty are by reason de monstrable.. 27 § 16. With what liabilities to error. 28 § 17. The term beauty" how limitable in the outset. Divided into typical and vital...... 28 CHAPTER IV.-Of False Opinions held concerning Beauty. § 1. Of the false opinion that truth is beauty, and vice versa..... § 2. Of the false opinion that beauty is usefulness. Compare Chap. xii. 5...... 30 31 § 3. Of the false opinion that beauty results from custom. Com- 4. The twofold operation of custom. It deadens sensation, but confirms affection.. 5. But never either creates or destroys the essence of beauty.. 32 6. Instances.. 36 7. Of the false opinion that beauty depends on the association of ideas... 33 33 34 35 36 8. Association. Is, 1st, rational. It is of no efficiency as a cause of beauty..... 9. Association accidental. The extent of its influence. 10. The dignity of its function.... § 11. How it is connected with impressions of beauty... § 12. And what caution it renders necessary in the examination of them.... CHAPTER V.—Of Typical Beauty :-First, of Infinity, or the § 1. Impossibility of adequately treating the subject... 4. Continued in after life... § 5. Whereto this instinct is traceable.. PAGE § 8. And connected analogies.... 9. How the dignity of treatment is proportioned to the expres § 12. Among the painters of landscape. § 13. Other modes in which the power of infinity is felt..... 14. The beauty of curvature... § 15. How constant in external nature.. § 16. The beauty of gradation... 17. How found in nature.. § 18. How necessary in Art. § 19. Infinity not rightly implied by vastness... -CHAPTER VI.—Of Unity, or the Type of the Divine Compre hensiveness. § 1. The general conception of divine Unity.... § 2. The glory of all things is their Unity.. § 3. The several kinds of unity. Subjectional. Original. Of sequence, and of membership... 4 Unity of membership. How secured. § 5. Variety. Why required..... § 6. Change, and its influence on beauty... 54 § 7. The love of change. How morbid and evil......... 55 8. The conducing of variety towards unity of subjection.. 55 § 9. And towards unity of sequence.... 57 § 11. The value of apparent proportion in curvature... § 10. The nature of proportion. 1st, of apparent proportion. § 13. Apparent proportion in melodies of line. §14. Error of Burke in this matter..... § 15. Constructive proportion. Its influence in plants. § 17. Summary.. CHAPTER VII.-Of Repose, or the Type of Divine Perma nence. § 1. Universal feeling respecting the necessity of repose in art. Its sources..... ........ 65 |