Ruskin returns to the painting Bacchus and Ariadne by Titian and the flowers of its foreground, but this time he seeks to make a more philosophical point, about the relationship between 'principles of universal beauty' and the extent to which he sees those forms being embodied in particular cases. He seems here to be accepting the point made by Reynolds that it is the function of the artists to correct their models in the light of their knowledge of universal principles ( Reynolds on Titian). These principles include not only the forms which separate one species from another (on this see MP I:59 ff.), but also the forms which make something beautiful.
Compare the passage in Works, 4.48 where Ruskin writes of beauty starting with sensual perception and sensual beauty but moving upwards - in the terminology of Plotinus and the neo-Platonists in Florence - to a recognition and veneration of the superior intelligence which is the basis of that beauty. Does' kindness' mean 'universality' in that passage?