CHAPTER III. _Imagination of the Artist._—The act 60

of seeing—Perception—Unconscious seeing—Colors as seen by the ancients—Seeing the model—Necessity of imaginative seeing—The imagination as ordinarily employed—As employed in portrait painting—The distorted view—The camera _vs._ the eye of the artist—Michael Angelo in the Sistine again—Tintoretto’s distortions—Claude Monet’s lights—Impossibility of creating anew—The imagination separating a part from the whole—In poetry and painting—In coins, marble, and bronzes—The combining imagination—Inspiration _vs._ composition—All the great masterpieces have been composed and labored over—Goethe’s “Faust”—“The Ancient Mariner”—Turner’s marines and Venetian scenes as flights of imagination—Imagination of Paolo Veronese—Tintoretto’s “Ariadne and Bacchus”—His Scuola San Rocco pictures—Ruskin’s explanation of them—Fancy—The serious _vs._ the clever in painting—The fantastic—The bizarre—Caricature and the grotesque—The bombastic and baroque