Modern Painters Volume I (of V)

§ 1. Distinction between the painter's intellectual power and technical knowledge. 8

§ 2. Painting, as such, is nothing more than language. 8

§ 3. "Painter," a term corresponding to "versifier." 9

§ 4. Example in a painting of E. Landseer's. 9

§ 5. Difficulty of fixing an exact limit between language and thought. 9

§ 6. Distinction between decorative and expressive language. 10

§ 7. Instance in the Dutch and early Italian schools. 10

§ 8. Yet there are certain ideas belonging to language itself. 11

§ 9. The definition. 12

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§ 1. No necessity for detailed study of ideas of imitation. 32

§ 2. Nor for separate study of ideas of power. 32

§ 3. Except under one particular form. 33

§ 4. There are two modes of receiving ideas of power, commonly inconsistent. 33

§ 5. First reason of the inconsistency. 33

§ 6. Second reason for the inconsistency. 34

§ 7. The sensation of power ought not to be sought in imperfect art. 34

§ 8. Instances in pictures of modern artists. 35

§ 9. Connection between ideas of power and modes of execution. 35

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§ 1. Meaning of the term "execution." 36

§ 2. The first quality of execution is truth. 36

§ 3. The second, simplicity. 36

§ 4. The third, mystery. 37

§ 5. The fourth, inadequacy; and the fifth, decision. 37

§ 6. The sixth, velocity. 37

§ 7. Strangeness an illegitimate source of pleasure in execution. 37

§ 8. Yet even the legitimate sources of pleasure in execution are inconsistent with each other. 38

§ 9. And fondness for ideas of power leads to the adoption of the lowest. 39

§ 10. Therefore perilous. 40

§ 11. Recapitulation. 40

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