Chapter XIII: Part I

OF GENERAL PRINCIPLES. SECTION I. OF THE NATURE OF THE IDEAS CONVEYABLE BY ART. Chapter I., Introductory § 1. Public opinion no criterion of excellence, except after long periods of time. 1 § 2. And therefore obstinate when once formed. 4 § 3. The author's reasons for opposing it in particular instances. 5 § 4. But only on points capable of demonstration. 5 § 5. The author's partiality to modern works excusable. 6 Chapter II., Definition of Greatness in Art § 1. Distinction between the painter's intellectual power and technical knowledge. 8 § 2. Painting, as such, is nothing more than language. 8 § 3. "Painter," a term corresponding to "versifier." 9 § 4. Example in a painting of E. Landseer's. 9 § 5. Difficulty of fixing an exact limit between language and thought. 9 § 6. Distinction between decorative and expressive language. 10 § 7. Instance in the Dutch and early Italian schools. 10 § 8. Yet there are certain ideas belonging to language itself. 11 § 9. The definition. 12 Chapter III.Of Ideas of Power § 1. What classes of ideas are conveyable by art. 13 § 2. Ideas of power vary much in relative dignity. 13 § 3. But are received from whatever has been the subject of power. The meaning of the word "excellence." 14 § 4. What is necessary to the distinguishing of excellence.[Page liv] 15 § 5. The pleasure attendant on conquering difficulties is right. 16 Chapter IV. Of Ideas of Imitation § 1. False use of the term "imitation" by many writers on art. 17 § 2. Real meaning of the term. 18 § 3. What is requisite to the sense of imitation. 18 § 4. The pleasure resulting from imitation the most contemptible that can be derived from art. 19 § 5. Imitation is only of contemptible subjects. 19 § 6. Imitation is contemptible because it is easy. 20 § 7. Recapitulation. 20 Chapter V., Of Ideas of Truth § 1. Meaning of the word "truth" as applied to art. 21 § 2. First difference between truth and imitation. 21 § 3. Second difference. 21 § 4. Third difference. 22 § 5. No accurate truths necessary to imitation. 22 § 6. Ideas of truth are inconsistent with ideas of imitation. 24 Chapter VI., Of Ideas of Beauty § 1. Definition of the term "beautiful." 26 § 2. Definition of the term "taste." 26 § 3. Distinction between taste and judgment. 27 § 4. How far beauty may become intellectual. 27 § 5. The high rank and function of ideas of beauty. 28 § 6. Meaning of the term "ideal beauty." 28 Chapter VII., Of Ideas of Relation § 1. General meaning of the term. 29 § 2. ideas are to be comprehended under it. 29 § 3. The exceeding nobility of these ideas. 30 § 4. Why no subdivision of so extensive a class is necessary. 31 SECTION II., OF POWER. Chapter I., General Principles respecting Ideas of Power § 1. No necessity for detailed study of ideas of imitation. 32 § 2. Nor for separate study of ideas of power. 32 § 3. Except under one particular form. 33 § 4. There are two modes of receiving ideas of power, commonly inconsistent.[Page lv] 33 § 5. First reason of the inconsistency. 33 § 6. Second reason for the inconsistency. 34 § 7. The sensation of power ought not to be sought in imperfect art. 34 § 8. Instances in pictures of modern artists. 35 § 9. Connection between ideas of power and modes of execution. 35 Chapter II., Of Ideas of Power, as they are dependent upon Execution § 1. Meaning of the term "execution." 36 § 2. The first quality of execution is truth. 36 § 3. The second, simplicity. 36 § 4. The third, mystery. 37 § 5. The fourth, inadequacy; and the fifth, decision. 37 § 6. The sixth, velocity. 37 § 7. Strangeness an illegitimate source of pleasure in execution. 37 § 8. Yet even the legitimate sources of pleasure in execution are inconsistent with each other. 38 § 9. And fondness for ideas of power leads to the adoption of the lowest. 39 § 10. Therefore perilous. 40 § 11. Recapitulation. 40 Chapter III., Of the Sublime § 1. Sublimity is the effect upon the mind of anything above it. 41 § 2. Burke's theory of the nature of the sublime incorrect, and why. 41 § 3. Danger is sublime, but not the fear of it. 42 § 4. The highest beauty is sublime. 42 § 5. And generally whatever elevates the mind. 42 § 6. The former division of the subject is therefore sufficient. 42