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26. Hence Objects of Sense receive their Character
27. Such are picturesque Objects, which are there
fore indefinite in Number and Kind.
28. Neatness, Freshness, Lightness, Symmetry, Re-
gularity, Uniformity and Propriety.
29. Dress and Culture. Consistency and Propriety.
32. Sense of Propriety or Congruity, artificial and
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
40. Sacred Architecture of the Greeks and Romans.
41. Iniproperly copied and applied to Houses.
42. In Decorations of Grounds.
43. Ancient Coins, &c. why interesting,
45. In the Orders of Architecture.
48. Refinemeat and Excess-opposed to the Gothic
49. Scale by which the Eye measures.
50. Consequent Effects of Proportion in St. Peter's.
51. And of Contrast in Gothic Cathedrals.
53. Lightness in Sculpture and Building,
55. Lightness in Painting. Flowing Lines. Rubens.
57. Sexual Beauty--its Principle.
59. Love, as existing among civilized and savage
Men, and brute Animals, comparatively con-
61. Sensual and Social or Sentimental Love.
62. Metaphysical Love. Petrarch. Cowley. Waller.
63. Pastoral Love in Theocritus, &c.
65. Sculpture compared with Painting.
66. Forms appropriate to Sculpture.
69. Other distinct Characters, as
73. Commercial, Naval, Agricultural, &c.
74. The Pleasures, derived from all, belong to the
75. Uniformity and Regularity.
76. Irregularity and Mutilation.
77. As affecting general Characteristics or Mental
78. As differently perceived by the Mind or the Eye.
80. His general Mistake of Ideas for Things.
81. Deceptions of Sexual and Social Sympathies.
82. Regularity and Irregularity in Features and
83. Ease, Grace, Elegance, and Dignity of Gesture
84. Belong to Character and Expression, and not to
85. In inanimate as well as animal Bodies.
86. Dignity and Elegance, wherein different.
91. Spiral Columns, scooped Pediments, &c.
92. Regularity in Architecture.
94. Clumps and Canals. Terraces and Borders.
95. Composition in Houses, Offices, and Plantations.
97. Irregularity in Architecture.
99. Trick and Affectation in Houses.
100. In Lodges, Cottages, Gateways, &c.
108. In Women. In Animals or other Objects,
109. Gradual Diminution or Tapering.
112. Affections. Abstract Principles.
116. Academies, their Effect on Art.
118. Mechanical and liberal Arts, their Difference.
119. Feeling, Sentiment, and Science in Painting.
121. Public Schools of Rhetoric; their Effect on the
122. Freedom of Study; its Effect on the Greek.
124. Instanced in Dr. Blair's Criticism on a Passage
125. Criticism examined.
126. The Passage justified by others, from Euripides
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
6. Use of the Distinction.
10. Probability in Epic Fiction.
11. In Dramatic.
19, 13. Oratory.
15. Epic and Dramatic License in Fiction; their
17. Unities of Time and Place.
19. Action, and Subject or Cause of Action; their
21. In the Tragedy of Macbeth,
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.
32. Odyssey. Gulliver's Travels.
33. Novel of Clarissa Harlowe.
34. Politeness or good Breeding; in Language.
37. Permanent Principles and fluctuating Modes
38. General and individual Nature.
39. Allegorical Personages ; Limits of Fiction.
40. In Epic and Dramatic Poetry.
44. From Poetry, particularly the Iliad. Uniformity
45. Truth of Expression. The Laocoon.