Chapter XIV: Of Vital Beauty:-Thirdly, in Man

§ 1. Condition of the human creature entirely different from that of the lower animals. 111 § 2. What room here for idealization. 111 § 3. How the conception of the bodily ideal is reached. 112 § 4. Modifications of the bodily ideal owing to influence of mind. First, of intellect. 113 § 5. Secondly, of the moral feelings. 113 § 6. What beauty is bestowed by them. 115 § 7. How the soul culture interferes harmfully with the bodily ideal. 115 § 8. The inconsistency among the effects of the mental virtues on the form. 116 § 9. Is a sign of God's kind purpose towards the race. 116 § 10. Consequent separation and difference of ideals. 117 § 11. The effects of the Adamite curse are to be distinguished from signs of its immediate activity. 118 § 12. Which latter only are to be banished from ideal form. 118 § 13. Ideal form is only to be obtained by portraiture. 119 § 14. Instances among the greater of the ideal Masters. 119 § 15. Evil results of opposite practice in modern times. 120 § 16. The right use of the model. 121 § 17. Ideal form to be reached only by love. 121 § 18. Practical principles deducible. 122 § 19. Expressions chiefly destructive of ideal character. 1st, Pride. 122 § 20. Portraiture ancient and modern. 123 § 21. Secondly, Sensuality. 123 § 22. How connected with impurity of color. 124 § 23. And prevented by its splendor. 124 § 24. Or by severity of drawing. 125 § 25. Degrees of descent in this respect: Rubens, Correggio, and Guido. 125 § 26. And modern art. 126 § 27. Thirdly, ferocity and fear. The latter how to be distinguished from awe. 126 § 28. Holy fear, how distinct from human terror. 127 § 29. Ferocity is joined always with fear. Its unpardonableness. 127 § 30. Such expressions how sought by painters powerless and impious. 128 § 31. Of passion generally. 129 § 32. It is never to be for itself exhibited—at least on the face. 130 § 33. Recapitulation. 131