Sec. 1. Imagination penetrative is concerned not with the combining but apprehending of things. 163 Sec. 2. Milton's and Dante's description of flame. 163 Sec. 3. The imagination seizes always by the innermost point. 164 Sec. 4. It acts intuitively and without reasoning. 165 Sec. 5. Signs of it in language. 165 Sec. 6. Absence of imagination, how shown. 166 Sec. 7. Distinction between imagination and fancy. 166 Sec. 8. Fancy how involved with imagination. 168 Sec. 9. Fancy is never serious. 169 Sec. 10. Want of seriousness the bar to high art at the present time. 169 Sec. 11. Imagination is quiet; fancy, restless. 170 Sec. 12. The detailing operation of fancy. 170 Sec. 13. And suggestive, of the imagination. 171 Sec. 14. This suggestiveness how opposed to vacancy. 172 Sec. 15. Imagination addresses itself to imagination. 173 Instances from the works of Tintoret. 173 Sec. 16. The entombment. 174 Sec. 17. The Annunciation. 174 Sec. 18. The Baptism of Christ. Its treatment by various painters. 176 Sec. 19. By Tintoret. 177 Sec. 20. The Crucifixion. 178 Sec. 21. The Massacre of innocents. 179 Sec. 22. Various works in the Scuola di San Rocco. 181 Sec. 23. The Last Judgment. How treated by various painters. 181 Sec. 24. By Tintoret. 182 Sec. 25. The imaginative verity, how distinguished from realism. 183 Sec. 26. The imagination how manifested in sculpture. 184 Sec. 27. Bandinelli, Canova, Mino da Fiesole. 184 Sec. 28. Michael Angelo. 185 Sec. 29. Recapitulation. The perfect function of the imagination is the intuitive perception of ultimate truth. 188 Sec. 30. Imagination how vulgarly understood. 190 Sec. 31. How its cultivation is dependent on the moral feelings. 190 Sec. 32. On independence of mind. 191 Sec. 33. And on habitual reference to nature. 191 CHAPTER IV.--Of Imagination Contemplative.