Chapter V: Of the Superhuman Ideal

§ 1. The subject is not to be here treated in detail. 212 § 2. The conceivable modes of manifestation of Spiritual Beings are four. 212 § 3. And these are in or through creature forms familiar to us. 213 § 4. Supernatural character may be impressed on these either by phenomena inconsistent with their common nature (compare Chap. iv. § 16). 213 § 5. Or by inherent Dignity. 213 § 6. 1st. Of the expression of inspiration. 214 § 7. No representation of that which is more than creature is possible. 215 § 8. Supernatural character expressed by modification of accessories. 216 § 9. Landscape of the religious painters. Its character is eminently symmetrical. 217 § 10. Landscape of Benozzo Gozzoli. 217 § 11. Landscape of Perugino and Raffaelle. 218 § 12. Such Landscape is not to be imitated. 218 § 13. Color, and Decoration. Their use in representations of the Supernatural. 219 § 14. Decoration so used must be generic. 220 § 15. And color pure. 220 § 16. Ideal form of the body itself, of what variety susceptible. 221 § 17. Anatomical development how far admissible. 221 § 18. Symmetry. How valuable. 221 § 19. The influence of Greek art, how dangerous. 222 § 20. Its scope, how limited. 223 § 21. Conclusion. 224 ADDENDA. 225 LIST OF PLATES TO VOLUME II. Page. Court of the Ducal Palace, Venice 10 From a drawing by Ruskin. Tomb of the Ilaria di Caretto, Lucca 72 From a photograph. The Adoration of the Magi 158 From a painting by Ruskin, after Tintoret. Study of Stone Pine, at Sestri 199 From a drawing by Ruskin.

MODERN PAINTERS VOL. III. CONTAINING PART IV., OF MANY THINGS. TABLE OF CONTENTS.