Sec. 1. Condition of the human creature entirely different from that of the lower animals. 111 Sec. 2. What room here for idealization. 111 Sec. 3. How the conception of the bodily ideal is reached. 112 Sec. 4. Modifications of the bodily ideal owing to influence of mind. First, of intellect. 113 Sec. 5. Secondly, of the moral feelings. 113 Sec. 6. What beauty is bestowed by them. 115 Sec. 7. How the soul culture interferes harmfully with the bodily ideal. 115 Sec. 8. The inconsistency among the effects of the mental virtues on the form. 116 Sec. 9. Is a sign of God's kind purpose towards the race. 116 Sec. 10. Consequent separation and difference of ideals. 117 Sec. 11. The _effects_ of the Adamite curse are to be distinguished from signs of its immediate activity. 118 Sec. 12. Which latter only are to be banished from ideal form. 118 Sec. 13. Ideal form is only to be obtained by portraiture. 119 Sec. 14. Instances among the greater of the ideal Masters. 119 Sec. 15. Evil results of opposite practice in modern times. 120 Sec. 16. The right use of the model. 121 Sec. 17. Ideal form to be reached only by love. 121 Sec. 18. Practical principles deducible. 122 Sec. 19. Expressions chiefly destructive of ideal character. 1st, Pride. 122 Sec. 20. Portraiture ancient and modern. 123 Sec. 21. Secondly, Sensuality. 123 Sec. 22. How connected with impurity of color. 124 Sec. 23. And prevented by its splendor. 124 Sec. 24. Or by severity of drawing. 125 Sec. 25. Degrees of descent in this respect: Rubens, Correggio, and Guido. 125 Sec. 26. And modern art. 126 Sec. 27. Thirdly, ferocity and fear. The latter how to be distinguished from awe. 126 Sec. 28. Holy fear, how distinct from human terror. 127 Sec. 29. Ferocity is joined always with fear. Its unpardonableness. 127 Sec. 30. Such expressions how sought by painters powerless and impious. 128 Sec. 31. Of passion generally. 129 Sec. 32. It is never to be for itself exhibited--at least on the face. 130 Sec.