| §1. | Condition of the human creature entirely different from that of the lower animals. | 111 |
| §2. | What room here for idealization. | 111 |
| §3. | How the conception of the bodily ideal is reached. | 112 |
| §4. | Modifications of the bodily ideal owing to influence of mind. First, of intellect. | 113 |
| §5. | Secondly, of the moral feelings. | 113 |
| §6. | What beauty is bestowed by them. | 115 |
| §7. | How the soul culture interferes harmfully with the bodily ideal. | 115 |
| §8. | The inconsistency among the effects of the mental virtues on the form. | 116 |
| §9. | Is a sign of God's kind purpose towards the race. | 116 |
| §10. | Consequent separation and difference of ideals. | 117 |
| §11. | The effects of the Adamite curse are to be distinguished from signs of its immediate activity. | 118 |
| §12. | Which latter only are to be banished from ideal form. | 118 |
| §13. | Ideal form is only to be obtained by portraiture. | 119 |
| §14. | Instances among the greater of the ideal Masters. | 119 |
| §15. | Evil results of opposite practice in modern times. | 120 |
| §16. | The right use of the model. | 121 |
| §17. | Ideal form to be reached only by love. | 121 |
| §18. | Practical principles deducible. | 122 |
| §19. | Expressions chiefly destructive of ideal character. 1st, Pride. | 122 |
| §20. | Portraiture ancient and modern. | 123 |
| §21. | Secondly, Sensuality. | 123 |
| §22. | How connected with impurity of color. | 124 |
| §23. | And prevented by its splendor. | 124 |
| §24. | Or by severity of drawing. | 125 |
| §25. | Degrees of descent in this respect: Rubens, Correggio, and Guido. | 125 |
| §26. | And modern art. | 126 |
| §27. | Thirdly, ferocity and f
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