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26. Hence Objects of Sense receive their Character

from the Mind.

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.

30. In Houses and Gardens.

31. In Parks and Forests.

32. Sense of Propriety or Congruity, artificial and

acquired. 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. Iniproperly 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. Refinemeat and Excess-opposed to the Gothic

Principle 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 con-

sidered,

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

.

71. Romantic.

70. Classical,

72. Pastoral.

73. Commercial, Naval, Agricultural, &c.

74. The Pleasures, derived from all, belong to the

Mind and not to the Objccts.

75. Uniformity and Regularity.

76. Irregularity and Mutilation.

77. As affecting general Characteristics or Mental

Sympathies.

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.

Mistatement.

82. Regularity and Irregularity in Features and

Attitudes.

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83. Ease, Grace, Elegance, and Dignity of Gesture

and Attitude.

84. Belong to Character and Expression, and not to

particular Lines and Forms.

85. In inanimate as well as animal Bodies.

86. Dignity and Elegance, wherein different.

87. Dancing

88. Grace of Savages.

89. Of the Greeks.

90. Lines of Grace.

91. Spiral Columns, scooped Pediments, &c.

92. Regularity in Architecture.

93. In Gardening.

94. Clumps and Canals. Terraces and Borders.

95. Composition in Houses, Offices, and Plantations.

96. Hanging Terraces.

97. Irregularity in Architecture.

98. Exemplified.

99. Trick and Affectation in Houses.

100. In Lodges, Cottages, Gateways, &c.

161. Mixed Architecture.

102. Situations.

103. Sir John Vanbrugh.

104. Mr. Brown.

105. Made Water.

106. Walks.

107. Sinallness of size.

108. In Women. In Animals or other Objects,

109. Gradual Diminution or Tapering.

110. General Rules.

111. In Morals.

112. Affections. Abstract Principles.

113. Their Effects.

114. Whether negative or affirmative,

115. In Taste and Manners.

116. Academies, their Effect on Art.

117. Accounted for.

118. Mechanical and liberal Arts, their Difference.

119. Feeling, Sentiment, and Science in Painting.

120. In Sculpture.

121. Public Schools of Rhetoric; their Effect on the

Latin Language.

122. Freedom of Study; its Effect on the Greek.

123. On the English.

124. Instanced in Dr. Blair's Criticism on a Passage
16. Poetical Probability.

of Pope.

125. Criticism examined.

126. The Passage justified by others, from Euripides

and Shakespeare.

127. Theoretical Criticism in general.

CHAP. III. OF JUDGMENT.

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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

Belief.

6. Use of the Distinction.
7, 8. Illustrated by Instances.
9. Aristotle's Opinion examined.

10. Probability in Epic Fiction.

11. In Dramatic.

19, 13. Oratory.

14. Acling

15. Epic and Dramatic License in Fiction; their

Difference,

17. Unities of Time and Place.

18. Of Action.

19. Action, and Subject or Cause of Action; their

Difference.

20. Exemplified.

21. In the Tragedy of Macbeth,

22. In the Iliad.

23. Both compared.

24. Unity of Subject.

25. Tragi-comedy.

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.

Ossian.

32. Odyssey. Gulliver's Travels.

33. Novel of Clarissa Harlowe.

34. Politeness or good Breeding; in Language.

;

35. In Dress and Demeanor.

36. Its Principles.

37. Permanent Principles and fluctuating Modes

38. General and individual Nature.

39. Allegorical Personages ; Limits of Fiction.

40. In Epic and Dramatic Poetry.

41. In Painting.

42. Symbolical Figures.

43. Of Deities.

44. From Poetry, particularly the Iliad. Uniformity

of Design among the Greeks.

45. Truth of Expression. The Laocoon.

46. Michael Angelo.

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