DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61217#0053
‘MODERN PAINTERS’—SECOND VOLUME. 41
person who hears such an assertion made, to nip the
germinating philosopher in his ambiguous bud; and
beg him, if he really believes his own assertion, never
henceforward to use two words for the same thing.”
The succeeding chapters on “Unity,” “Infinity,” “Re-
pose,” “ Moderation,” are masterly in thought, with
passages close and fine, as that which discovers the
“reason of the agreeableness” of a curve — that it
“ divides itself infinitely by its changes of direction ”;
that which asserts “the inseparable dependence” of
spirits on each other’s being, and their “ essential and
perfect depending on their Creator’s ”; and the noble
page on “ Unity ” : Subjectional Unity of things sub-
mitted to the same influence, which is that of clouds
in the wind; Unity of Origin, which is that of branches
of a tree; Unity of Sequence, which is that of continued
lines or the notes following to make a melody; and
Unity of Membership, “ which is the unity of things
separately imperfect in a perfect whole,” as in the notes
joining to make a harmony, and, in spiritual creatures,
their essential life of happiness in the Creator Spirit.
Inordinate variety (such as that of the colouring of
some tropical birds) is a defect of the beauty of Unity.
The dark background is presented to us (and here
Ruskin seems perilously to strain a principle in the
application) as a denial of the beauty of Infinity.
“ I think if there be any one grand division, by
which it is at all possible to set the productions of
painting, so far as their mere plan or system is con-
person who hears such an assertion made, to nip the
germinating philosopher in his ambiguous bud; and
beg him, if he really believes his own assertion, never
henceforward to use two words for the same thing.”
The succeeding chapters on “Unity,” “Infinity,” “Re-
pose,” “ Moderation,” are masterly in thought, with
passages close and fine, as that which discovers the
“reason of the agreeableness” of a curve — that it
“ divides itself infinitely by its changes of direction ”;
that which asserts “the inseparable dependence” of
spirits on each other’s being, and their “ essential and
perfect depending on their Creator’s ”; and the noble
page on “ Unity ” : Subjectional Unity of things sub-
mitted to the same influence, which is that of clouds
in the wind; Unity of Origin, which is that of branches
of a tree; Unity of Sequence, which is that of continued
lines or the notes following to make a melody; and
Unity of Membership, “ which is the unity of things
separately imperfect in a perfect whole,” as in the notes
joining to make a harmony, and, in spiritual creatures,
their essential life of happiness in the Creator Spirit.
Inordinate variety (such as that of the colouring of
some tropical birds) is a defect of the beauty of Unity.
The dark background is presented to us (and here
Ruskin seems perilously to strain a principle in the
application) as a denial of the beauty of Infinity.
“ I think if there be any one grand division, by
which it is at all possible to set the productions of
painting, so far as their mere plan or system is con-