Chapter V: Preface: To New Edition (1873)

I have been lately so often asked by friends on whose judgment I can rely, to permit the publication of another edition of "Modern Painters" in its original form, that I have at last yielded, though with some violence to my own feelings; for many parts of the first and second volumes are written in a narrow enthusiasm, and the substance of their metaphysical and religious speculation is only justifiable on the ground of its absolute honesty. Of the third, fourth, and fifth volumes I indeed mean eventually to rearrange what I think of permanent interest, for the complete edition of my works, but with fewer and less elaborate illustrations: nor have I any serious grounds for refusing to allow the book once more to appear in the irregular form which it took as it was written, since of the art-teaching and landscape description it contains I have little to retrench, and nothing to retract.

This final edition must, however, be limited to a thousand copies, for some of the more delicate plates are already worn, that of the Mill Stream in the fifth volume, and of the Loire Side very injuriously; while that of the Shores of Wharfe had to be retouched by an engraver after the removal of the mezzotint for reprinting. But Mr. Armytage's, Mr. Cousen's, and Mr. Cuff's magnificent plates are still in good state, and my own etchings, though injured, are still good enough to answer their purpose.

SYNOPSIS OF CONTENTS.

PART I.

OF GENERAL PRINCIPLES.

SECTION I.

OF THE NATURE OF THE IDEAS CONVEYABLE BY ART.

CHAPTER I.--Introductory.
PAGE
Sec. 1. Public opinion no criterion of excellence, except after long
periods of time. 1
Sec. 2. And therefore obstinate when once formed. 4
Sec. 3. The author's reasons for opposing it in particular instances. 5
Sec. 4. But only on points capable of demonstration. 5
Sec. 5. The author's partiality to modern works excusable. 6

CHAPTER II.--Definition of Greatness in Art.

Sec. 1. Distinction between the painter's intellectual power and
technical knowledge. 8
Sec. 2. Painting, as such, is nothing more than language. 8
Sec. 3. "Painter," a term corresponding to "versifier." 9
Sec. 4. Example in a painting of E. Landseer's. 9
Sec. 5. Difficulty of fixing an exact limit between language and
thought. 9
Sec. 6. Distinction between decorative and expressive language. 10
Sec. 7. Instance in the Dutch and early Italian schools. 10
Sec. 8. Yet there are certain ideas belonging to language itself. 11
Sec. 9. The definition. 12

CHAPTER III.--Of Ideas of Power.

Sec. 1. What classes of ideas are conveyable by art. 13
Sec. 2. Ideas of power vary much in relative dignity. 13
Sec. 3. But are received from whatever has been the subject of
power. The meaning of the word "excellence." 14
Sec. 4. What is necessary to the distinguishing of excellence. 15
Sec. 5. The pleasure attendant on conquering difficulties is right. 16

CHAPTER IV.--Of Ideas of Imitation.

Sec. 1. False use of the term "imitation" by many writers on art. 17
Sec. 2. Real meaning of the term. 18
Sec. 3. What is requisite to the sense of imitation. 18
Sec. 4. The pleasure resulting from imitation the most contemptible
that can be derived from art. 19
Sec. 5. Imitation is only of contemptible subjects. 19
Sec. 6. Imitation is contemptible because it is easy. 20
Sec. 7. Recapitulation. 20

CHAPTER V.--Of Ideas of Truth.

Sec. 1. Meaning of the word "truth" as applied to art. 21
Sec. 2. First difference between truth and imitation. 21
Sec. 3. Second difference. 21
Sec. 4. Third difference. 22
Sec. 5. No accurate truths necessary to imitation. 22
Sec. 6. Ideas of truth are inconsistent with ideas of imitation. 24

CHAPTER VI.--Of Ideas of Beauty.

Sec. 1. Definition of the term "beautiful." 26
Sec. 2. Definition of the term "taste." 26
Sec. 3. Distinction between taste and judgment. 27
Sec. 4. How far beauty may become intellectual. 27
Sec. 5. The high rank and function of ideas of beauty. 28
Sec. 6. Meaning of the term "ideal beauty." 28

CHAPTER VII.--Of Ideas of Relation.

Sec. 1. General meaning of the term. 29
Sec. 2. What ideas are to be comprehended under it. 29
Sec. 3. The exceeding nobility of these ideas. 30
Sec. 4. Why no subdivision of so extensive a class is necessary. 31

SECTION II.

OF POWER.

CHAPTER I.--General Principles respecting Ideas of Power.

Sec. 1. No necessity for detailed study of ideas of imitation. 32
Sec. 2. Nor for separate study of ideas of power. 32
Sec. 3. Except under one particular form. 33
Sec. 4. There are two modes of receiving ideas of power, commonly
inconsistent. 33
Sec. 5. First reason of the inconsistency. 33
Sec. 6. Second reason for the inconsistency. 34
Sec. 7. The sensation of power ought not to be sought in imperfect art. 34
Sec. 8. Instances in pictures of modern artists. 35
Sec. 9. Connection between ideas of power and modes of execution. 35

CHAPTER II.--Of Ideas of Power, as they are dependent upon Execution.

Sec. 1. Meaning of the term "execution." 36
Sec. 2. The first quality of execution is truth. 36
Sec. 3. The second, simplicity. 36
Sec. 4. The third, mystery. 37
Sec. 5. The fourth, inadequacy; and the fifth, decision. 37
Sec. 6. The sixth, velocity. 37
Sec. 7. Strangeness an illegitimate source of pleasure in execution. 37
Sec. 8. Yet even the legitimate sources of pleasure in execution are
inconsistent with each other. 38
Sec. 9. And fondness for ideas of power leads to the adoption of the
lowest. 39
Sec. 10. Therefore perilous. 40
Sec. 11. Recapitulation. 40

CHAPTER III.--Of the Sublime.

Sec. 1. Sublimity is the effect upon the mind of anything above it. 41
Sec. 2. Burke's theory of the nature of the sublime incorrect, and why. 41
Sec. 3. Danger is sublime, but not the fear of it. 42
Sec. 4. The highest beauty is sublime. 42
Sec. 5. And generally whatever elevates the mind. 42
Sec. 6. The former division of the subject is therefore sufficient. 42

PART II.

OF TRUTH.

SECTION I.

GENERAL PRINCIPLES RESPECTING IDEAS OF TRUTH.

CHAPTER I.--Of Ideas of Truth in their connection with those of
Beauty and Relation.

Sec. 1. The two great ends of landscape painting are the representation
of facts and thoughts. 44
Sec. 2. They induce a different choice of material subjects. 45
Sec. 3. The first mode of selection apt to produce sameness and
repetition. 45
Sec. 4. The second necessitating variety. 45
Sec. 5. Yet the first is delightful to all. 46
Sec. 6. The second only to a few. 46
Sec. 7. The first necessary to the second. 47
Sec. 8. The exceeding importance of truth. 48
Sec. 9. Coldness or want of beauty no sign of truth. 48
Sec. 10. How truth may be considered a just criterion of all art. 48

CHAPTER II.--That the Truth of Nature is not to be discerned by the
Uneducated Senses.

Sec. 1. The common self-deception of men with respect to their
power of discerning truth. 50
Sec. 2. Men usually see little of what is before their eyes. 51
Sec. 3. But more or less in proportion to their natural sensibility to
what is beautiful. 52
Sec. 4. Connected with a perfect state of moral feeling. 52
Sec. 5. And of the intellectual powers. 53
Sec. 6. How sight depends upon previous knowledge. 54
Sec. 7. The difficulty increased by the variety of truths in nature. 55
Sec. 8. We recognize objects by their least important attributes.
Compare Part I. Sect. I. Chap. 4. 55