Sec. 1. The subject is not to be here treated in detail. 212 Sec. 2. The conceivable modes of manifestation of Spiritual Beings are four. 212 Sec. 3. And these are in or through creature forms familiar to us. 213 Sec. 4. Supernatural character may be impressed on these either by phenomena inconsistent with their common nature (compare Chap. iv. Sec. 16). 213 Sec. 5. Or by inherent Dignity. 213 Sec. 6. 1st. Of the expression of inspiration. 214 Sec. 7. No representation of that which is more than creature is possible. 215 Sec. 8. Supernatural character expressed by modification of 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.