90. Lines of Grace.

91. Spiral Columns, scooped Pediments, &c.

92. Regularity in Architecture.

93. In Gardening.

94. Clumps and Canals. Terraces and Borders.

95. Composition in Houses, Offices, and Plantations.

96. Hanging Terraces.

97. Irregularity in Architecture.

98. Exemplified.

99. Trick and Affectation in Houses.

100. In Lodges, Cottages, Gateways, &c.

101. Mixed Architecture.

102. Situations.

103. Sir John Vanbrugh.

104. Mr. Brown.

105. Made Water.

106. Walks.

107. Smallness of Size.

108. In Women. In Animals or other Objects.

109. Gradual Diminution or Tapering.

110. General Rules.

111. In Morals.

112. Affections. Abstract Principles.

113. Their Effects.

114. Whether negative or affirmative.

115. In Taste and Manners.

116. Academies, their Effect on Art.

117. Accounted for.

118. Mechanical and liberal Arts, their difference.

119. Feeling, Sentiment, and Science in Painting.

120. In Sculpture.

* ར

121. Public Schools of Rhetoric; their Effect on the

Latin Language.

122. Freedom of Study; its Effect on the Greek.

123. On the English.

124. Instanced in Dr. Blair's Criticism on a Passage of

Pope.

125. Criticism examined.

126. The Passage justified by others, from Euripides and
Shakespeare.

127. Theoretical Criticism in general.

CHAP. III. OF JUDGMENT.

1. Judgment; in what it consists.

2. Reason, as applied to Taste.

3. Demonstration and Analogy.

4. Laws of Nature.

5. In Matters of Demonstration; in Matters of Belief.

6. Use of the Distinction.

7, 8. Illustrated by Instances.

9. Aristotle's Opinion examined.

10. Probability in Epic Fiction.

11. In Dramatic.

12, 13. Oratory.

14. Acting.

15. Epic and Dramatic Licence in Fiction; their Dif-

ference.

16. Poetical Probability.

17. Unities of Time and Place.

18. Of Action.

19. Action, and Subject or Cause of Action; their

Difference.

20. Exemplified.

21. In the Tragedy of Macbeth.

22. In the Iliad.

23. Both compared.

24. Unity of Subject.

25. Tragi-comedy.

26. Dramatic not to be judged by Epic Style. ✓

27. Effect of Style on Probability of Fiction.

28. Of gradual Elevation and Exaggeration.

29. Of circumstantial Minuteness.

30. Mixture of Truth in the Iliad.

31. In the Productions of all unpolished Nations. Ossian.

32. Odyssey. Gulliver's Travels.

33. Novel of Clarissa Harlowe.

34. Politeness or good Breeding; in Language.

35. In Dress and Demeanor.

36. Its Principles.

37. Permanent Principles and fluctuating Modes.

38. General and individual Nature.

39. Allegorical Personages; Limits of Fiction.

40. In Epic and Dramatic Poetry.

41. In Painting.

42. Symbolical Figures.

43. Of Deities.

44. From Poetry, particularly the Iliad. Uniformity

of Design among the Greeks.

45. Truth of Expression. The Laocoon.

46. Michael Angelo.

47. Extravagance in Invention.

48. Truth in Action and Gesture.

Michael Angelo.

Greek Artists,

49. Reasons for his Deviation from it. Abstract Form.

50. Character and Expression of Form.

51. Rapnael's Vision of Ezekiel, Salvator Rosa's

Witch of Endor.

52. Titian. Rubens, Rembrandt.

53. Difference of Character between Sculpture and

Painting.

54. Similar to that between Epic and Dramatic Poetry.

55. Homeric Heroes, how far suited to the Stage.

56. Reasons for Horace's recommending them, His

Character of Achilles examined.

57. Ulysses of Euripides, and Æneas of Virgil.

58. Judgment of Virgil,

59. His peculiar Excellence.

PART III. OF THE PASSIONS.

CHAP. I. OF THE SUBLIME AND PATHETIC.

1. Sympathy.

2. Semblance of Truth.

3. Mr. Burke's Opinion.

4. Examined as to

5. Fiction and Reality.

6. Degrees of Sympathy. Romans. Asiatics.

7. Sympathies with Exertion, not with Suffering,
please.

8. Roman Mime of Laureolus.

9. Fights of Gladiators.

10. Cruelties of the Americans to their Captives.

11. Attending Executions.

12. Stoic Opinion of the Deity.

13. Passive and Active Fortitude. Combats; Cock-

fighting; Bull-baiting; and Boxing.

14. Tragedy and Comedy; their radical Difference.

15. Dramatic Distress always known to be fictitious.

16. Terror and Pity.

17. Longinus's Opinion. Ecstasy.

18. Selfish Sufferings not Tragic.

19. Energetic Passions sublime.

20. Rapture. Enthusiasm. Love.

21. Hatred. Malignity.

22. Fortitude. The Laocoon.

23. Sculpture and Poetry; their comparative Influence

on the Passions.

24. Acting and Reading.

25. Energies of Reason and Passion. Cato. Achilles.

26. Passion in Poetry may be too reasonable.

27. Madness. Folly. Perverted Energy. Weakness.

28. Morality of Tragedy.

29. False Terrors of Horace, what.

30. No Terror felt at Dramatic Exhibitions.

31. Pity melting the Mind of Love.

32. Only when Sympathy is with Energies of Mind.

33. Active and passive Courage.

34. Weakness. False Delicacy.

35. Timidity. Modesty.

36. Pliability. Stubbornness. Themistocles.

37. Tenacity in Trifles.

38. Sublime and Pathetic, how connected; both ener-

getic. Macbeth.

39. Otway's Venice Preserv'd. Shakespear's Julius

Cæsar.