§ 1. Distinction between the painter's intellectual power and technical knowledge. 8 § 2. Painting, as such, is nothing more than language. 8 § 3. "Painter," a term corresponding to "versifier." 9 § 4. Example in a painting of E. Landseer's. 9 § 5. Difficulty of fixing an exact limit between language and thought. 9 § 6. Distinction between decorative and expressive language. 10 § 7. Instance in the Dutch and early Italian schools. 10 § 8. Yet there are certain ideas belonging to language itself. 11 § 9. The definition. 12 * * *

§ 1. No necessity for detailed study of ideas of imitation. 32 § 2. Nor for separate study of ideas of power. 32 § 3. Except under one particular form. 33 § 4. There are two modes of receiving ideas of power, commonly inconsistent. 33 § 5. First reason of the inconsistency. 33 § 6. Second reason for the inconsistency. 34 § 7. The sensation of power ought not to be sought in imperfect art. 34 § 8. Instances in pictures of modern artists. 35 § 9. Connection between ideas of power and modes of execution. 35 * * *

§ 1. Meaning of the term "execution." 36 § 2. The first quality of execution is truth. 36 § 3. The second, simplicity. 36 § 4. The third, mystery. 37 § 5. The fourth, inadequacy; and the fifth, decision. 37 § 6. The sixth, velocity. 37 § 7. Strangeness an illegitimate source of pleasure in execution. 37 § 8. Yet even the legitimate sources of pleasure in execution are inconsistent with each other. 38 § 9. And fondness for ideas of power leads to the adoption of the lowest. 39 § 10. Therefore perilous. 40 § 11. Recapitulation. 40 * * *