accessories. 216
Sec. 9. Landscape of the religious painters. Its character is
eminently symmetrical. 217
Sec. 10. Landscape of Benozzo Gozzoli. 217
Sec. 11. Landscape of Perugino and Raffaelle. 218
Sec. 12. Such Landscape is not to be imitated. 218
Sec. 13. Color, and Decoration. Their use in representations of the
Supernatural. 219
Sec. 14. Decoration so used must be generic. 220
Sec. 15. And color pure. 220
Sec. 16. Ideal form of the body itself, of what variety susceptible. 221
Sec. 17. Anatomical development how far admissible. 221
Sec. 18. Symmetry. How valuable. 221
Sec. 19. The influence of Greek art, how dangerous. 222
Sec. 20. Its scope, how limited. 223
Sec. 21. Conclusion. 224

ADDENDA. 225

LIST OF PLATES TO VOLUME II.

_Page._

Court of the Ducal Palace, Venice 10
From a drawing by Ruskin.

Tomb of the Ilaria di Caretto, Lucca 72
From a photograph.

The Adoration of the Magi 158
From a painting by Ruskin, after Tintoret.

Study of Stone Pine, at Sestri 198
From a drawing by Ruskin.

PART III.

OF IDEAS OF BEAUTY.

SECTION I.

OF THE THEORETIC FACULTY.

CHAPTER I.

OF THE RANK AND RELATIONS OF THE THEORETIC FACULTY.

Sec. 1. With what care the subject is to be approached.

Although the hasty execution and controversial tone of the former
portions of this essay have been subjects of frequent regret to the
writer, yet the one was in some measure excusable in a work referred to
a temporary end, a