Category: Art
" II.--Of Realization 16 " III.--Of the Real Nature of Greatness of Style 23 " IV.--Of the False Ideal:--First, Religious 44 " V.--Of the False Ideal:--Secondly, Profane 61 " VI.--Of the True Ideal:--First, Purist 70 " VII.--Of the True Ideal:--Secondly, Naturalist 77 " VIII.-...
" II.--Of Realization 16 " III.--Of the Real Nature of Greatness of Style 23 " IV.--Of the False Ideal:--First, Religious 44 " V.--Of the False Ideal:--Secondly, Profane 61 " VI...
3. CHAPTER I.§ 1. In taking up the clue of an inquiry, now intermitted for nearly ten years, it may be well to do as a traveller would, who had to recommence an interrupted journey in a guid...
4. CHAPTER II.§ 1. In the outset of this inquiry, the reader must thoroughly understand that we are not now considering _what_ is to be painted, but _how far_ it is to be painted. Not whether...
5. CHAPTER III.§ 1. I doubt not that the reader was ill-satisfied with the conclusion arrived at in the last chapter. That "great art" is art which represents what is beautiful and good, may n...
6. CHAPTER IV.§ 1. Having now gained some general notion of the meaning of "great art," we may, without risk of confusing ourselves, take up the questions suggested incidentally in the preced...
7. CHAPTER V.§ 1. Such having been the effects of the pursuit of ideal beauty on the religious mind of Europe, we might be tempted next to consider in what way the same movement affected the...
8. CHAPTER VI.§ 1. Having thus glanced at the principal modes in which the imagination works for evil, we must rapidly note also the principal directions in which its operation is admissible,...
9. CHAPTER VII.§ 1. We now enter on the consideration of that central and highest branch of ideal art which concerns itself simply with things as they ARE, and accepts, in all of them, alike t...
10. CHAPTER VIII.§ 1. I have already, in the Stones of Venice, had occasion to analyze, as far as I was able, the noble nature and power of grotesque conception; I am not sorry occasionally to r...
11. CHAPTER IX.§ 1. I am afraid the reader must be, by this time, almost tired of hearing about truth. But I cannot help this; the more I have examined the various forms of art, and exercised...
12. CHAPTER X.§ 1. I am afraid this will be a difficult chapter; one of drawbacks, qualifications, and exceptions. But the more I see of useful truths, the more I find that, like human beings...
13. CHAPTER XI.§ 1. Having now obtained, I trust, clear ideas, up to a certain point, of what is generally right and wrong in all art, both in conception and in workmanship, we have to apply t...
14. CHAPTER XII.§ 1. German dulness and English affectation, have of late much multiplied among us the use of two of the most objectionable words that were ever coined by the troublesomeness of...
15. CHAPTER XIII.§ 1. My reason for asking the reader to give so much of his time to the examination of the pathetic fallacy was, that, whether in literature or in art, he will find it eminently...
16. canto v. stanza 2. In the first instance, the river-spirit is17. CHAPTER XIV.§ 1. IN our examination of the spirit of classical landscape, we were obliged to confine ourselves to what is left to us in written description. Some interesting results might i...
18. CHAPTER XV.§ 1. I closed the last chapter, not because our subject was exhausted, but to give the reader breathing time, and because I supposed he would hardly care to turn back suddenly f...
19. CHAPTER XVI.§ 1. We turn our eyes, therefore, as boldly and as quickly as may be, from these serene fields and skies of mediæval art, to the most characteristic examples of modern landscape...
20. CHAPTER XVII.§ 1. SUPPOSING then the preceding conclusions correct, respecting the grounds and component _elements_ of the pleasure which the moderns take in landscape, we have here to consi...
21. CHAPTER XVIII.§ 1. The first step to the understanding either the mind or position of a great man ought, I think, to be an inquiry into the elements of his early instruction, and the mode in...