171
Sec. 14. This suggestiveness how opposed to vacancy. 172
Sec. 15. Imagination addresses itself to imagination. 173
Instances from the works of Tintoret. 173
Sec. 16. The entombment. 174
Sec. 17. The Annunciation. 174
Sec. 18. The Baptism of Christ. Its treatment by various painters. 176
Sec. 19. By Tintoret. 177
Sec. 20. The Crucifixion. 178
Sec. 21. The Massacre of innocents. 179
Sec. 22. Various works in the Scuola di San Rocco. 181
Sec. 23. The Last Judgment. How treated by various painters. 181
Sec. 24. By Tintoret. 182
Sec. 25. The imaginative verity, how distinguished from realism. 183
Sec. 26. The imagination how manifested in sculpture. 184
Sec. 27. Bandinelli, Canova, Mino da Fiesole. 184
Sec. 28. Michael Angelo. 185
Sec. 29. Recapitulation. The perfect function of the imagination is
the intuitive perception of ultimate truth. 188
Sec. 30. Imagination how vulgarly understood. 190
Sec. 31. How its cultivation is dependent on the moral feelings. 190
Sec. 32. On independence of mind. 191
Sec. 33. And on habitual reference to nature. 191

CHAPTER IV.--Of Imagination Contemplative.

Sec. 1. Imagination contemplative is not part of the essence, but only
a habit or mode of the faculty. 192
Sec. 2. The ambiguity of conception. 192
Sec. 3. Is not in itself capable of adding to the charm of fair
things. 193
Sec. 4. But gives to the imagination its regardant power over them. 194
Sec. 5. The third office of fancy distinguished from imagination
contemplative. 195
Sec. 6. Various instances. 197
Sec. 7. Morbid or nervous fancy.