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34. Progress of Perception.
35. Its Effect in reducing the Pleasures of Sense.
PART II. OF THE ASSOCIATION OF IDEAS.
CHAP. I. OF KNOWLEDGE OR IMPROVED
PERCEPTION.
1. Artificial Perception-how far independent of organic
Sensation.
2. Imitative Art.
3. Imitation in general.
4. Its Pleasures of short Duration.
5. Science in Art-its Pleasures.
6. Whence derived.
7. Originals and Copies-their difference.
8. Drawings and unfinished Sketches.
9. Juvenile and imperfect Works.
10. Mental Habits their Effect on Sensation.
11. Exactitude of Imitation-where vicious.
12. Where just and necessary in Painting.
13. In Sculpture.
14. Sculpture compared with Painting.
15. Poetry with Music.
16. Articulate Language, and inarticulate Notes.
17. Idiom in Language, Rhythm, Prosody.
18. Melody in Language.
19. Modes of Articulation.
20. Verse considered in the Abstract.
21. As connected with Sense or Meaning.
22. With Passion, Sentiment, and Sympathy.
23. Irregularity and Variety comparatively considered-
in Poetry and Music-in Sculpture and Painting.
24. Pope and Milton.
25. English Verse-its Nature and Character.
26. General distinct Characters of Verse and Prose.
27. Verse necessary to Poetry, and wherefore.
28. Paradise Lost..
29. English Blank Verse-its Defects in Milton.
30. In Thomson and Cowper.
31. Inversions and Transpositions.
32. Collocation of Words. Order of the Imagination.
Order of the Understanding.
33. Their different Effects in Poetry.
34. Various Effects of Verse.
35. Vicious Modes of pronouncing Greek and Latin.
36, 37. Why they do not destroy the Character of Verse.
CHAP. II. OF IMAGINATION.
1. Association of Ideas-when become habitual, invo- luntary.
2. Its Effects on Temper and Disposition. Lunacy.
3. Intoxication.
4. Dreams.
5. Anxiety, Grief, and Vexation.
6. Vivacity, Wit, Madness.
7. Idiocy.
8. Memory-how connected with Imagination.
9. Memory-artificial.
10. Natural, but unregulated.
11. Prosers and Prattlers,
12. Pleasures of Intellect-in natural Objects.
13. In social and moral.
14. In the fine Arts.
15. The Picturesque.
16. Origin and Use of this Word.
17. Its proper Meaning.
18. Style of Painting at its Revival.
19. Its Defects.
20. How changed and corrected.
21. Thence the Distinction of Picturesque.
22. Which could not have existed before.
23. In what Sense picturesque Objects may not be beau-
tiful.
24. Objects purely picturesque.
25. Pleasures of Sense and Intellect improve each other.
26. Hence Objects of Sense receive their Character
from the Mind.
27. Such are picturesque Objects, which are therefore
indefinite in Number and Kind.
28. Neatness, Freshness, Lightness, Symmetry, Regula-,
rity, Uniformity, and Propriety.
29. Dress and Culture. Consistency and Propriety.
30. In Houses and Gardens.
31. In Parks and Forests.
32. Sense of Propriety or Congruity, artificial and ac-
quired. Mixed Architecture.
33, 34. Its Advantages.
35. Gothic Architecture, military and monastic.
36. Buildings of the Goths, Celts, Scandinavians, &c.
37. Military Architecture of the Greeks and Romans.
38. When employed in Houses and Villas.
39. Rise and Progress of Monastic or Cathedral Gothic.
40. Sacred Architecture of the Greeks and Romans.
41. Improperly copied and applied to Houses.
42. In Decorations of Grounds.
43. Ancient Coins, &c. why interesting.
44. Symmetry-in Animals.
45. In the Orders of Architecture.
46. Its Reasons.
47. Its Origin and Progress.
48. Refinement and Excess-opposed to the Gothic Prin-
ciple of Contrast.
49. Scale, by which the Eye Measures.
50. Consequent Effects of Proportion in St. Peter's.
51. And of Contrast in Gothic Cathedrals.
52. Of Intricacy and Extent.
53. Lightness in Sculpture and Building.
54. Errors of Imitation in Principles.
55. Lightness in Painting. Flowing Lines. Rubens.
56. Corregio.
57. Sexual Beauty-its Principle.
58. Sudden Love.
59. Love, as existing among civilized and savage Men,
and brute Animals, comparatively considered.
60. Power of Imagination.
61. Sensual and social or sentimental Love.
62. Metaphysical Love. Petrarch. Cowley. Waller.
63. Pastoral Love in Theocritus, &c.
64. In modern Dramas, &c.
65. Sculpture compared with Painting.
66. Forms appropriate to Sculpture.
67. Sculpturesque.
68. Grottesque.
69. Other distinct Characters, as
70. Classical.
71. Romantic.
72. Pastoral.
73. Commercial, naval, agricultural, &c.
74. The Pleasures, derived from all, belong to the Mind
and not to the Objects.
75. Uniformity and Regularity.
76. Irregularity and Mutilation.
77. As affecting general Characteristics or Mental Sym-
pathies.
78. As differently perceived by the Mind or the Eye.
79. Mr. Price's Illustration.
80. His general Mistake of Ideas for Things.
81. Deceptions of sexual and social Sympathies.
82. Regularity and Irregularity in Features and Atti-
tudes.
83. Ease, Grace, Elegance, and Dignity of Gesture and
Attitude.
84. Belong to Character and Expression, and not to par-
ticular Lines and Forms.
85. In inanimate as well as animal Bodies. ·
86. Dignity and Elegance, wherein different.
$7. Dancing.
88. Grace of Savages.
89. Of the Greeks.