stinguished from signs of its immediate activity. 118
Sec. 12. Which latter only are to be banished from ideal form. 118
Sec. 13. Ideal form is only to be obtained by portraiture. 119
Sec. 14. Instances among the greater of the ideal Masters. 119
Sec. 15. Evil results of opposite practice in modern times. 120
Sec. 16. The right use of the model. 121
Sec. 17. Ideal form to be reached only by love. 121
Sec. 18. Practical principles deducible. 122
Sec. 19. Expressions chiefly destructive of ideal character. 1st,
Pride. 122
Sec. 20. Portraiture ancient and modern. 123
Sec. 21. Secondly, Sensuality. 123
Sec. 22. How connected with impurity of color. 124
Sec. 23. And prevented by its splendor. 124
Sec. 24. Or by severity of drawing. 125
Sec. 25. Degrees of descent in this respect: Rubens, Correggio, and
Guido. 125
Sec. 26. And modern art. 126
Sec. 27. Thirdly, ferocity and fear. The latter how to be distinguished
from awe. 126
Sec. 28. Holy fear, how distinct from human terror. 127
Sec. 29. Ferocity is joined always with fear. Its unpardonableness. 127
Sec. 30. Such expressions how sought by painters powerless and impious. 128
Sec. 31. Of passion generally. 129
Sec. 32. It is never to be for itself exhibited--at least on the face. 130
Sec. 33. Recapitulation. 131

CHAPTER XV.--General Conclusions respecting the Theoretic Faculty.

Sec. 1. There are no sources of the emotion of beauty more than those
found in things visible. 133
Sec. 2. What imperfection exists in visible things. How in a sort by
imagination removable. 134
Sec. 3. Which however affects not our present conclusions. 134
Sec. 4. The four sources from which the pleasure of beauty is derived