Chapter III: Imagination of the Artist.—The act 60

of seeing—Perception—Unconscious seeing—Colors
as seen by the ancients—Seeing the
model—Necessity of imaginative seeing—The
imagination as ordinarily employed—As employed
in portrait painting—The distorted view—The
camera _vs._ the eye of the artist—Michael
Angelo in the Sistine again—Tintoretto’s
distortions—Claude Monet’s lights—Impossibility
of creating anew—The imagination separating a
part from the whole—In poetry and painting—In
coins, marble, and bronzes—The combining
imagination—Inspiration _vs._ composition—All
the great masterpieces have been composed and
labored over—Goethe’s “Faust”—“The Ancient
Mariner”—Turner’s marines and Venetian scenes as
flights of imagination—Imagination of Paolo
Veronese—Tintoretto’s “Ariadne and Bacchus”—His
Scuola San Rocco pictures—Ruskin’s explanation
of them—Fancy—The serious _vs._ the clever in
painting—The fantastic—The bizarre—Caricature
and the grotesque—The bombastic and baroque