Chapter III: Of Imagination Penetrative

§ 1. Imagination penetrative is concerned not with the combining but apprehending of things. 163 § 2. Milton's and Dante's description of flame. 163 § 3. The imagination seizes always by the innermost point. 164 § 4. It acts intuitively and without reasoning. 165 § 5. Signs of it in language. 165 § 6. Absence of imagination, how shown. 166 § 7. Distinction between imagination and fancy. 166 § 8. Fancy how involved with imagination. 168 § 9. Fancy is never serious. 169 § 10. Want of seriousness the bar to high art at the present time. 169 § 11. Imagination is quiet; fancy, restless. 170 § 12. The detailing operation of fancy. 170 § 13. And suggestive, of the imagination. 171 § 14. This suggestiveness how opposed to vacancy. 172 § 15. Imagination addresses itself to imagination. 173 Instances from the works of Tintoret. 173 § 16. The entombment. 174 § 17. The Annunciation. 174 § 18. The Baptism of Christ. Its treatment by various painters. 176 § 19. By Tintoret. 177 § 20. The Crucifixion. 178 § 21. The Massacre of innocents. 179 § 22. Various works in the Scuola di San Rocco. 181 § 23. The Last Judgment. How treated by various painters. 181 § 24. By Tintoret. 182 § 25. The imaginative verity, how distinguished from realism. 183 § 26. The imagination how manifested in sculpture. 184 § 27. Bandinelli, Canova, Mino da Fiesole. 184 § 28. Michael Angelo. 185 § 29. Recapitulation. The perfect function of the imagination is the intuitive perception of ultimate truth. 188 § 30. Imagination how vulgarly understood. 190 § 31. How its cultivation is dependent on the moral feelings. 190 § 32. On independence of mind. 191 § 33. And on habitual reference to nature. 191