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Index
Front Cover
Introduction* containing a Sceptical View of the Subject 1 In its Principles
"1 and 8 Vitiated and morbid Palates
In Building, Furniture, Gardening, and Diess
Sound—how conveyed
In imitative
Its Nature and Causes
Imitation in general
In Style
Its Effects, Modes, and Degrees of Irritation
In the Productions of Nature
Simple and mixed Tones
Science in Art—its Pleasures
Connected with Mental Sympathies in Animals
Whence derived
€ Of the Word Beauty 7 Applied to intellectual as well as sensible Qualities
In Mankind
Originals and Copies—'their difference
Expression in Music
Reflected and refracted Lights Effects of Colours, simple and mixed
S Variations in its Meaning 9 As to the Sexes in Mankind
Articulate Sounds;
Mr Hume's Opinion considered
Verse
Degrees of Sensibility in the Organs
Sexual Tastes of Brutes
Compared with Music
Double meaning of the Word Taste
Measure and Quantity
How violated in the dead Languages
In the Coats of Animals
In Sculpture
How far addressed to organic Sense
Sculpture compared with Painting
Musical and Poetical Melody
In Buildings, Gardens, Pieces of Water,
Distance and Direction of Sounds
General Principles of visible Beauty
Their Grandeur and Sublimity
Illustrated by particular Instances Deceptions
Mixed Qualities and Sensations—-how separated
Melody in Language'
Style of Painting at its Revival
Adverse Opinions of Mr Price and Boileau
Modes of Articulation
OF SENSATION
Grottesques
Verse considered in the Abstract
Mixed Qualities and Sensations further explained
As connected with Sense or Meaning
Thence the Distinction of Picturesque
Its Organs 2 Primary or simple Sensation 3 Variation
Consequence of Mr Burke's Doctrine of Beauty
Irritation
Mr Burke's System compared with that of Sir Jo- shua Reynolds
Irregularity and Variety comparatively considered—- in Poetry and Music—in Sculpture and Painting
Pope and Milton
Objects purely picturesque
English Verse—its Nature and Character
Pleasures of Sense and Intellect improve each other
Appropriated Beauties of particular Kinds, depending on Habit Irregularity
General distinct Characters of Verse and Pros?
Verse necessary to Poetry, and wherefore
Such are picturesque Objects, which are therefore indefinite in Number and Kind
Sexual Predilections—their Influence and Effects 28 Force of Light—as reflected
Paradise Lost
As acting directly upon, the Eye Mr BurkeV Error
English Blank Verse—-its Defects in Milton-
29- Dress and Culture Consistency and Propriety
Darkness Mr' Burke's Notion of it examined
In Thomson and Cowper
In Houses and Gardens
Mixture of Truth in the Iliad
OF TOUCH
Other Privations compared with
Inversions and Transpositions
Difficulty of considering Sensation alone
Collocation of Words Order of the Imagination Order of the Understanding
Particularly in Vision
Various Effects of Verse
Politeness or good Breeding; in Language
Vicious Modes of pronouncing Greek and Latin
Gothic Architecture, military and monastic
In Dress and Demeanor
Why they do not destroy the Character of Verse
Buildings of the Goths, Celts, Scandinavians,
Military Architecture of the Greeks and Romans
Permanent Principles and fluctuating Modes
When employed in Houses and Villas
General and individual Nature
Rise and Progress of Monastic or Cathedral Gothic
Allegorical Personages; Limits of Fiction
Otway's Venice Preserv'd Shakespear's Julius
Scepticism
Sacred Architecture of-the Greeks and Romans
Improperly copied and applied to Houses
In Painting
In Decorations of Grounds
Symbolical Figures
Ancient Coins, &c why interesting
Of Deities
Symmetry—in Animals
From Poetry, particularly the Iliad Uniformity of Design among the Greeks
In the Orders of Architecture
Truth of Expression The Laocoon
Its Reasons
Michael Angelo
Its Origin and Progress
Extravagance in Invention
Refinement and Excess~-opposed to the Gothic Prin- ciple of Contrast
Truth in Action and Gesture Greek Artists,
Scale, by which the Eye Measures
Darkness Vacuity Silence
Consequent Effects of Proportion in St Peter's
Character and Expression of Form
And of Contrast in Gothic Cathedrals
Rapnael's Vision of Ezekiek Salvator Rosa's Witc'i of Endor
Storms Earthquakes Volcancs,
Of Intricacy and Extent
Titnn- Rubens, Rembrandt
Lightness in Sculpture and Building
53- Difference of Character between Sculpture and Painting
■ of Lucretius
Errors of Imitation in Principles
Similar to that between Epic and Dramatic Poetry
Lightness in Painting Flowing Lines Rubens
Homeric Heroes, how far suited to the Stage
Their Principles in common Observation
Corregio
Reasons for Horace's recommending therm His Character of Achilles examined
Sexual Beauty—its Principle
Ulysses of Euripides, and ^neas of Virgil
OF SIGHT
Sudden Love
Love, as existing among civilized and savage Men, and brute Animals, comparatively considered
His peculiar Excellence
Power of Imagination
Mr Burke's Philosophy on the Subject
Sensual and social or sentimental Love
Not clearly understood by himself
Metaphysical Love Petrarch Cowley Waller,
Leads to Materialism
His progressive Scale of the Sublime
Contrary in its Principles to the System of Longi- nus and all others known
Pastoral Love in Theocritus,
In modern Dramas,
Forms appropriate to Sculpture
Astonishment and Terror, as applicable to himself
Sculpturesque
Deduction from
Grottesque
Treatise on Oriental Gardening; Experiments tried
Other distinct Characters,
Others proposed
Classical
Noxious and innocent Tame and wild Animals
Romantic
71
Pastoral
Ulysses's
Destroying and preserving Powers compared, as to Energy
Commercial, naval, agricultural,
The Pleasures, derived from all, belong to the Mind
Uniformity and Regularity
Irregularity and Mutilation
IS Desciiption and Re iiiry compared 76 Illustrated by Virgil's Bees,
As affecting general Characteristics or Mental Sym- pathies
As differently perceived by the Mind or the
V7 By Homer's Moor Fcwl 78 Acquired Tastes
Mr Price's Illustration
Passage of Horace explained
His general Mistake of Ideas for Things
Mr Burke's Opinion of Description examined
Deceptions of sexual and social Sympathies
Obscurity Things distinct and Things deter- minate
Regularity and Irregularity in Features and Atti- tudes
Energies Images Virgil's forging of the Thun- derbolts Homer's Girdle of Venus
Ease, Grace, Elegance, and Dignity of Gesture and Attitude
Consequences of Obscurity being thought Sublime
Belong to Character and Expression, and not to par- ticular Lines and Forms
Impassioned Modes of Speech Ideas Ossian
Its Causes 2 Primary Effects Projection 3 Distance
In inanimate as well as animal Bodies
Sound Sense and mental Energy in Character
Dignity and Elegance, wherein different
-— in Description
Enthusiastic Language Heroic Style
Lyric Style Pindar Sophocles Gray,
89- Milton's Imagery sometimes obscure; not sq in the Instance quoted by Mr Burke
Lines of Grace
Where really so, faulty Instance
Influence of Authority
Spiral Columns, scooped Pediments,
Regularity in Architecture
In Gardening
Instances and Illustrations
Clumps and Canals Terraces and Borders
Composition in Houses, Offices, and Plantations
Hanging Terraces
Irregularity in Architecture
Exemplified
Trick and Affectation in Houses
In Lodges, Cottages, Gateways,
Mixed Architecture
Situations
Sir John Vanbrugh
Mr Brown
Made Water,
Walks
Smallness of Size
In Women In Animals or other Objects
Gradual Diminution or Tapering
General Rules
In Morals
Affections Abstract Principles
Their Effects
Whether negative or affirmative
In Taste and Manners
Academies, their Effect on
Accounted
Mechanical and liberal Arts, their difference
Feeling, Sentiment, and Science in Painting
OF IMAGINATION
Its Effects on Temper and Disposition Lunacy 3 Intoxication
Dreams 5 Anxiety, Grief, and Vexation 6 Vivacity, Wit, Madness
Exceptions
Dancing S8 Grace of Savages
Caesar
Of the Greeks
In Sculpture
OF THE PASSIONS CHAP I OF THE SUBLIME AND PATHETIC 1 Sympathy
Semblance of Truth
In different Individuals
Mr Burke's Opinion 4 Examined as
Fiction and Reality 6 Degrees of Sympathy Romans Asiatics 7 Sympathies with Exertion, not with Suffering, please
Visible Magnitude 5 Error of Mr Burke 6 Irritation—its Effects on the Organ 7 Pleasures and Pains Colours
Michael Angelo
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