CHAP. Of Imagina tion. according to which comprehensive signification of the word, many objects, that we call picturesque, certainly are not beautiful; since they may be void of symmetry, neatness, cleanness, &c.; all which are necessary to constitute that kind of beauty, which addresses itself to the understanding and the fancy. 24. The sensual pleasure arising from viewing objects and compositions, which we call picturesque, may be felt équally by all mankind in proportion to the correctness and sensibility of their organs of sight; for it is wholly independent of their being picturesque, or after the manner of painters. But this very relation to painting, expressed by the word picturesque, is that, which affords the whole pleasure derived from association; which can, therefore, only be felt by persons who have correspondent ideas to associate; that is, by persons in a certain degree conversant with that art. Such persons being in the habit of viewing, and receiving pleasure from fine pictures, will naturally feel pleasure in viewing those objects in nature, which have called forth those powers of imitation and embellishment; and those combinations and circumstances of objects, which have guided those powers in their happiest exertions. The objects recall to the mind the imitations, which skill, taste, and genius have produced; and these again recall to the mind the objects themselves, and show them through an improved mediumthat of the feeling and discernment of a great artist. the 25. By thus comparing nature and art, both eye and the intellect acquire a higher relish for the productions of each; and the ideas, excited by both, are invigorated, as well as refined, by being thus associated and contrasted. The pleasures of vision acquire a wider range, and find endless gratifications, at once exquisite and innocent, in all the variety of productions, whether animal, vegetable, or mineral, which nature has scattered over the earth. All display beauty in some combinations or others; and when that beauty has been selected, imitated, and embellished by art, those, who before overlooked or neglected it, discern at once all its charms through this discriminating medium; and when the sentiment, which it excited, was new to them, they called those appearances of things, which excited it, by a new name, picturesque :-a word, that is now become extremely common and familiar in our own tongue; and which, like all other foreign words, that are become so, is very frequently employed improperly. 26. The skilful painter, like the skilful poet, passes slightly over those parts of his subject, which neither the compass of his art, nor the CHAP. II. Of Imagination. CHAP. Of Imagina tion. nature of his materials, allow him to represent 27. To attempt to analyze, class, or enumerate the objects in nature, which are, in this proper sense of the word, picturesque, would be vain and impracticable; as they comprehend, in some degree, every thing of every kind, which has been, or may be represented to advantage in painting: and, if the scale of imitation in that art should be hereafter extended, the boundaries of the picturesque will be extended in the same proportion. Lately, too, the word has been extended to criticism, and employed to signify that clear and vivid style of narration or description, which paints to the imagination, and shows every event or object distinctly, as if represented in a picture *. But, according to my friend Mr. Price's system, this employment of it must be improper; and it ought to signify that middle style, which is not sufficiently smooth to be beautiful, nor sufficiently rough and elevated to be sublime. In objects of imitative art, we properly call picturesque, not only those of the most opposite kinds, but those which mark the opposite extremes of the same kind. The boors of Ostade, the peasants of Gainsborough, and the shepherds of Berghem, are picturesque; but so likewise are the warriors of Salvator Rosa, the apostles of Raphael, and the bacchanalians of Poussin: nor is the giant oak of Ruysdael, or full-grown pine or ilex of Claude, less so than the stumpy decayed pollard of Rubens or Rembrandt: nor the shaggy worn-out hack or cart-horse of Morland or Asselyn, than the pampered warhorse with luxuriant mane, and flowing tail, which we so justly admire in the pictures of Wovermans. The dirty and tattered garments, the dishevelled hair, and general wild appear * See Blair's Lectures. CHAP. II. Of Imagina tion. ance of gipsies and beggar girls are often picturesque but the flowing ringlets, fine shawls, and robes of delicate muslin thrown into all the easy, negligent, and playful folds of antique drapery by polished grace and refined elegance, are still more so. The first, indeed, are merely picturesque; that is, they have only the painter's beauties of harmonious variety of tint, and light and shade, blended with every thing else, that is disgusting; while the others have these. in an equal, or even superior degree, in addition to the charms of lightness, neatness, and purity. The mouldering ruins of ancient temples, theatres, and aqueducts, enriched by such a variety of tints, all mellowed into each other, as they appear in the landscapes of Claude, are, in the highest degree, picturesquè: but the magnificent quays and palaces, adorned with porticos and balustrades, and intermixed with shipping, which enrich the seaports of the same master, are likewise picturesque; though in a less degree: for new buildings have an unity of tint, and sharpness of angle, which render them unfit for painting, unless when mixed with trees or some other objects, which may break and diversify their colour, and graduate and harmonize the abruptness of their lights and shadows. 28. Are not, therefore, new buildings beautiful? Unquestionably they are; and pecu |