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CHAPTER III.
General meaning of the word picturesque..
Mr. Gilpin's definition of it examined
It has not an exclusive reference to painting..
The beautiful and the sublime, have been pointed out and illus-
trated by painting, as well as the picturesque•••••
Apology for making use of the word picturesqueness..
The picturesque, as distinct a character, as either the sublime or
the beautiful
37
38
40
. ibid.
42
The picturesque arises from qualities directly opposite to those
of beauty.
What those qualities are.
Picturesque and beautiful in buildings
43
49
50%
51
General distinctions between the picturesque and the beautiful
between the picturesque and the sublime..
Ditto
The manner in which they operate on the mind.......
Of terror as a cause of the sublime......
CHAPTER V.
To create the sublime above our contracted powers :-The art
of improving therefore depends on the beautiful and the pic-
turesque..
68
83
87
93
102
Beauty alone has hitherto been aimed at.
103
But they are seldom unmixed; and insipidity has arisen from try-
ing to separate them....
Illustration, from the mixture of discords with the most flowing
melodies in music.
110
CHAPTER VI.
It has been doubted by some whether smoothness be essential
to the beautiful
Effects of smoothness, and of roughness, in producing the beau-
113
tiful and the picturesque, by means of repose and irritation.. 115
Exemplified in scenery
Repose, the peculiar characteristic of Claude's pictures.
Character of the pleasures that arise from irritation
of Claude's his landscapes compared with those of
Rubens Illustration from the different characters of smiles,
Notc
121
125
126
128
129
131
Ditto of Rembrandt
133
Anecdote of Sir Joshua Reynolds. Note....
135
Antique statues, standards of grandeur and beauty....
138
The grandest style of painting, that of the Roman and Floren tine schools...
The Venetian style, the ornamental, or picturesque
Correggio's style, as described by Sir Joshua Reynolds, might
justly be called the beautiful style...
143
Each style of painting, corresponds with the characteristic marks
of the grand, the beautiful, and the picturesque in real objects 145
CHAPTER VII.
Breadth of light and shadow...
Twilight.-Quotation from Milton. Note...
Breadth alone insufficient; but preferable to detail without
breadth...:
Application of the principle of breadth to improvement
Objections to buildings being made too white......
Mr. Walpole's expression of the gentleman with the foolish
CHAPTER VIII.
On the beautiful, and what might be called the picturesque in
colour
100
Why autumn, and not spring, is called the painter's season.... 171
Blossoms, which are so beautiful near the eye, have a spotty
appearance in the general landscape.....
The first requisite of a picture, is to be a whole...................
174
The colouring of the Venetian school formed upon the tints in
autumn-Note on the Ganymede of Titian
180
That of Rubens, on the fresh colours of spring
183
Character of the atmosphere, and the lights and shadows, in
spring, summer, autumn, and winter
184
CHAPTER IX.
On ugliness
Angles not ugly
187
ibid.
Deformity is to ugliness, what picturesqueness is to beauty.... 189
But has in itself no connection with the sublime
190
Effects of the picturesque, when mixed with ugliness..... ....... 202.
The excess of the qualities of beauty, tend to insipidity: those
of picturesqueness to deformity.-Anecdote of an Anato-
mist. Note
Application to improvements
204
....
407
Beauty, picturesqueness, and deformity, in the other senses ..
General summing up of the arguments, to shew that the pictu-
resque has a distinct character.
By what means the word came to be introduced into modern
anguages
211
The character, not less distinct than those of envy, revenge, &c. 220
The reason why its distinctness has not been so accurately
marked
And why there are not more distinct terms and discriminations
in matters of taste
PART II.
228
.... 224
How far the principles of painting have been applied to im
provements
Kent the first improver on the present system-
......
General character of the old, and of the present system
Character of Kent...
Reasons for having spoken of him in such strong terms ......
A painter of a liberal and comprehensive mind, the best judge
of his own art, and of all that relates to it: such was Sir
Joshua Reynolds
Character of his discourses
Nothing so contracts the mind, as mere practical dexterity.
Illustration from such dexterity in music. Note............
Want of connection, the great defect of modern gardening
Connection the great principle of painting...
229
230
233
235
236
237
238
The clump
244
Anecdote of Mr. Brown, when High Sheriff. Note.
The belt
Illustrated by the connecting particles in language. Note
Mr. Brown-Quotation from Ariosto. Note
Grandeur in miniature. Note
An avenue condemned by Mr. Brown, but saved by the owner.
Note
249.
Distinction between beautiful, and picturesque intricacy....
Impossible to plan any forms of plantations that will suit all
places Illustration from the art of medicine. Note.... 253
The usual method of thinning trees for the purpose of beauty – 255
Ill effect of breaking an avenue into clumps.
CHAPTER II.
Trees considered generally
259
Necessary accompaniments to rocks, mountains, and to every
kind of ground and water
260
An exception with regard to the sea
The variety and intricacy of trees
262
painters.....
263
264
Those which are fullest of leaves, not always preferred by
The reasons
Plantations made for ornament, the least suited to the painter, 265
The established trees of the country ought to prevail in the new
plantations...
266
ibid,
269
272
Larches, and all pointed firs, make a bad general outline; and
as they outgrow the oak, &c. nothing else appears
Fascinating deformity of a clump, compared to that of a wart
or excrescence on the human face.
Even large plantations of firs, have a harsh effect, from their
not harmonizing with the natural woods of the country
The necessity of a proper balance in all scenery, both in point of form, and of colour.....
One cause of the heaviness of fir plantations, is their closeness 274
Appearance of the outside of a close fir plantation-of the
inside
Different appearance in a grove of spreading pines
Fir plantation improper for screens
A common hedge often a most effectual screen •
This points out the necessity of a mixture of thorns, bollies and
the lower growths, in all screens: likewise in ornamental
plantations
The advantage of such a mixture, if a plantation should be
thinned after long neglect
Contrast of such a plantation, with a close wood of firs only.. 284
Its variety would not arise merely from a diversity of plants—
variety in forests produced by a few species..
Continual and unvaried diversity, a source and a species of
monotony
286
287