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§ 10. Ideal form in vegetables destroyed by cultivation. 107 § 11. Instance in the Soldanella and Ranunculus. 108 § 12. The beauty of repose and felicity, how consistent with such ideal. 108 § 13. The ideality of Art. 109 § 14. How connected with the imaginative faculties. 109 § 15. Ideality, how belonging to ages and conditions. 110

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Chapter XIV.—Of Vital Beauty:—Thirdly, in Man.

§  1.	Condition of the human creature entirely different from that of the lower animals.	111
§  2.	What room here for idealization.	111
§  3.	How the conception of the bodily ideal is reached.	112
§  4.	Modifications of the bodily ideal owing to influence of mind. First, of intellect.	113
§  5.	Secondly, of the moral feelings.	113
§  6.	What beauty is bestowed by them.	115
§  7.	How the soul culture interferes harmfully with the bodily ideal.	115
§  8.	The inconsistency among the effects of the mental virtues on the form.	116
§  9.	Is a sign of God's kind purpose towards the race.	116
§ 10.	Consequent separation and difference of ideals.	117
§ 11.	The effects of the Adamite curse are to be distinguished from signs of its immediate activity.	118
§ 12.	Which latter only are to be banished from ideal form.	118
§ 13.	Ideal form is only to be obtained by portraiture.	119
§ 14.	Instances among the greater of the ideal Masters.	119
§ 15.	Evil results of opposite practice in modern times.	120
§ 16.	The right use of the model.	121
§ 17.	Ideal form to be reached only by love.	121
§ 18.	Practical principles deducible.	122
§ 19.	Expressions chiefly destructive of ideal character. 1st, Pride.	122
§ 20.	Portraiture ancient and modern.	123
§ 21.	Secondly, Sensuality.	123
§ 22.	How connected with impurity of color.	124
§ 23.	And prevented by its splendor.	124
§ 24.	Or by severity of drawing.	125
§ 25.	Degrees of descent in this respect: Rubens, Correggio, and Guido.	125
§ 26.	And modern art.	126
§ 27.	Thirdly, ferocity and fear. The latter how to be distinguished from awe.	126
§ 28.	Holy fear, how distinct from human terror.	127
§ 29.	Ferocity is joined always with fear. Its unpardonableness.	127
§ 30.	Such expressions how sought by painters powerless and impious.	128
§ 31.	Of passion generally.