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PART I. an eloquent writer *, they being the direct reverse of smooth to the eye.

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Of Sight.

13. The reflections from the polished coats of very sleek and pampered animals are also harsh and angular, though in a less degree; and the outlines of their bodies sharp and edgy: wherefore, whatever visible beauties they may possess, do not consist in their smoothness.

14. Neat new buildings also, and level lawns intersected by gravel walks marked out in exact lines, or winding canals distinctly bounded by shaven banks, may be properly called smooth, if we mean smoothness to the touch: but, to the eye, they present nothing but harsh and discordant oppositions of colour, distinguished by crude and abrupt lines, and only diversified by formal and angular masses of light and shadow. The only quality in visible objects, which is at all analogous to smoothness in tangible bodies, is the even monotony of a billiard-table or bowling-green; and if the bowling-green be ridged like a corn field, and the ridges covered with smooth turf, it will be exactly analogous to the undulating smoothness of tangible surfaces: yet, I doubt much whether even the love of system would have power to induce any person to find Inquiry into the Sublime and Beautiful, Part III. s. xiv.

much beauty in either of these objects; though PART I. I hold that love to be full as potent as any other,

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and perhaps more so: for I think that affections, Of Sight. which are generated in the brain, are generally more vigorous, and always more permanent, than those which spring up in the heart.

15. I do not mean, however, to deny or depreciate the charms of neatness, which is so grateful in itself, and so necessary to the comfort and well being of man, as I shall show in the proper place: but it forms no part of that merely visible beauty, abstracted from all mental sympathies or intellectual fitness, which is at present the subject of inquiry.

16. This consists, according to the principles which I have endeavoured to establish, in harmonious, but yet brilliant and contrasted combinations of light, shade, and colour; blended, but not confused; and broken, but not cut, into masses: and it is not peculiarly in straight or curve, taper or spiral, long or short, little or great objects, that we are to seek for these; but in such as display to the eye intricacy of parts and variety of tint and surface,

17. Such are animals which have loose, shaggy, and curly hair; trees, whose branches are spread into irregular forms, and exhibit broken and diversified masses of foliage, and whose trunks are varied with mosses and lichens, or enriched with

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PART I. ivy; buildings, that are mouldering into ruin*, whose sharp angles are softened by decay, and Of Sight. whose crude and uniform tints are mellowed and diversified by weather-stains and wall plants; streams, that flow alternately smooth and agitated, between broken or sedgy banks, reflecting, sometimes clearly, and sometimes indistinctly, the various masses of rock or foliage, that hang over them; in short, almost all those objects in nature or art, which my friend Mr. Price has so elegantly described as picturesque: for painting, as it imitates only the visible qualities of bodies, separates those qualities from all others; which the habitual concurrence and co-operation of the other senses have mixt and blended with them, in our ordinary perceptions, from which our ideas are formed. The imitative deceptions of this art unmask the habitual deceptions of sight, as those of the ventriloquist do the habitual deceptions of hearing, by showing that mere modifications upon one flat surface can exhibit to the eye the semblance of various projecting bodies at different degrees of distance from each other, in the same manner as the mere modifications of one voice could convey to the ear the semblance of dif

"And time hath mouldered into beauty many a tower," is one of the few happy expressions to be found in Mr. Mason's" English Garden."

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ferent voices coming in different directions, and PART I. from places differing in their degrees of proximity. Hence it was with some difficulty that the na- Of Sight. ture of painting could be explained to the boy, restored to sight by Chiselden, even after his eyes had acquired all the ordinary powers of perception, as well as those of sensation: for when he saw, upon a surface, which he felt to be flat, all those visible effects produced, by which he had lately been taught to estimate visible projection and distance, he concluded that either his sight or his touch was erroneous, but had not been sufficiently in the habit of comparing their evidence to decide which.

18. In many of the objects of these mixt sensations, there must necessarily occur a mixture of pleasing and displeasing qualities; or of such as please one sense, and displease another: or please the senses, and offend the understanding or the imagination. These painting also separates; and, in its imitations of objects, which are pleasing to the eye but otherwise offensive, exhibits the pleasing qualities only; so that we are delighted with the copy, when we should, perhaps, turn away with disgust and abhorrence from the original. Decayed pollard trees, rotten thatch, crumbling masses of perished brick and plaster, tattered worn-out dirty garments, a fish

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PART I. or a flesh market, may all exhibit the most har monious and brilliant combinations of tints to the Of Sight. eye; and harmonious and brilliant combinations of tints are certainly beautiful in whatsoever they are seen: but, nevertheless, these objects contain so many properties that are offensive to other senses, or to the imagination, that in nature we are not pleased with them, nor ever consider them as beautiful. Yet in the pictures of Rembrandt, Ostade, Teniers, and Fyt, the imitations of them are unquestionably beautiful and pleasing to all mankind; and as these painters are remarkable for the fidelity of their imitations, whatever visible qualities existed in the objects must appear in their copies of them: but, in these copies, the mind perceives only the visible qualities; whereas, in the originals, it perceived others less agreeable united with them. Painters, indeed, and persons much conversant with painting, often feel pleasure in viewing the objects themselves: but this is from a principle of association, which will be hereafter explained.

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19. A great authority, I know, denies that the imitations of such objects can ever produce beautiful, that is, lovely pictures*;" and if beautiful is thus limited to the sense of lovely, I may perhaps not think the point worth contesting; *Price's Dialog.

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