,
I consider are no more to be ranked as right creations of fancy or
imagination than things actually seen and heard; for the action of the
nerves is I suppose the same, whether externally caused, or from within,
although very grand imagination may be shown by the intellectual
anticipation and realization of such impressions; as in that glorious
vignette of Turner's to the voyage of Columbus. "Slowly along the
evening sky they went." Note especially therein, how admirably true to
the natural form, and yet how suggestive of the battlement he has
rendered the level flake of evening cloud.

Sec. 8. The action of contemplative imagination is not to be expressed by
art.

I believe that it is unnecessary for me to enter into farther detail of
illustration respecting these points; for fuller explanation of the
operations of the contemplative faculty on things verbally expressible,
the reader may be referred to Wordsworth's preface to his poems; it only
remains for us, here, to examine how far this imaginative or abstract
conception is to be conveyed by the material art of the sculptor or the
painter.

Now, it is evident that the bold action of either the fancy or the
imagination, dependent on a bodiless and spiritual image of the object,
is not to be by lines or colors represented. We cannot, in the painting
of Satan fallen, suggest any image of pines or crags,--neither can we
assimilate the brier and the banner, nor give human sympathy to the
motion of the film, nor voice to the swinging of the pines.

Sec. 9. Except under narrow limits.--1st. Abstract rendering of form
without color.

Yet certain powers there are, within due limits, of marking the thing
represented with an ideal character; and it was to these powers that I
alluded in defining the meaning of the term ideal, in the thirteenth
chapter of the preceding section. For it is by this operation that the
productions of high art are separated from those of the realist.

And, first, there is evidently capability of separating color and form,
and considering either separately. Form we find abstractedly considered
by the sculptor, how far it would be possible to advantage a statue by
the addition of color, I venture not to affirm; the question is too
extensive to be here discussed. High authorities and ancient practice,
are in favor of color; so the sculpture of the middle ages: the two
statues of Mino da Fiesole in the church of St^a. Caterina at