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CHAP.

V.

Of Sight.

almost all adult persons, habitual' perceptions,
constantly confounded with those immediately
resulting from the impressions on the same
organs
of sense; with which, perhaps, they are
no otherwise connected than by continued as-
sociation.

33. This is peculiarly the case with our perceptions of all objects of sight; the visible appearance of which, as an acute and accurate investigator has observed, is scarcely ever regarded by us, or made a subject of reflection, but serves only as a sign to introduce to the mind something, which may be as distinctly conceived by those, who never saw*. But, nevertheless, the mere sensual pleasures of vision, which are at present exclusively the subject of inquiry, depend entirely on the primary impressions, unimproved and undisguised by the intermixture of other notions and ideas, acquired by means of the other senses: for as they consist in different modes and degrees of organic irritation, they are of a totally distinct class from those which result from the operations of mind.

34. I am aware, however, that they are scarcely ever felt separate and unmixed, except in such extraordinary cases as that of the boy couched by Cheselden, or in very young

• Reid on the Mind, c. vi. f. xi.

.

children; who, of course, do not retain, in their maturer age, any remembrance of the progress of these perceptions; by which the means of exercising both memory and understanding were acquired, and, consequently, the consciousness of their possessing any such faculties. We may, nevertheless, observe the process, by which these artificial and improved perceptions are formed out of simple sensations, in the manner, in which they handle and turn about all objects which they can lay hold of; now putting them to their mouths, and now placing them at different distances from their eyes; by all which they are rectifying, correcting, and improving the testimony of one sense by that of another; and acquiring the habit of associating their ideas, as they receive them; from which habit the best and principal part of their subsequent knowledge is to be derived.

$5. The habit, which we at the same time acquire, of spontaneously mixing associated ideas with organic perceptions in contemplating objects of vision, is the principal reason why the merely sensual pleasures of this organ are, in adult persons, very limited and feeble. Children are delighted with every gay assemblage of colours: but, as the intellect and imagination acquire strength by culture and exercise, they obtain so much influence

CHAP.

V.

Of Sight.

CHAP.

V.

Of Sight.

over the sense, as to make it reject almost everygratification, in which one of them does not participate. But, nevertheless, the sense acquires a similar negative power, in its turn, by the same habit of association; and if there be any thing, in the object of contemplation, to offend or disgust it, effectually mars the gratification of every other faculty. Thus, in the higher class of landscapes, whether in nature or in art, the mere sensual gratification of the eye is comparatively so small, as scarcely to be attended to: but yet, if there occur a single spot, either in the scene or the picture, offensively harsh and glaring-if the landcape gardener, in the one, or the picture cleaner in the other, have exerted their unhappy talents of polishing, all the magic instantly vanishes, and the imagination avenges the injury offered to the sense. The glaring and unharmonious spot, being the most prominent and obtrusive, irresistibly attracts the attention, so as to interrupt the repose of the whole, and leave the mind no place to rest upon. It is in some respects the same with the sense of hearing. The mere sensual gratification, arising from the melody of an actor's voice, is a very small part, indeed, of the pleasure, which we receive from the representation of a fine drama: but, nevertheless, if a single note of the voice be absolutely cracked and out of tune, so as to

offend and disgust the ear, it will completely destroy the effect of the most skilful acting, and render all the sublimity and pathos of the finest tragedy ludicrous.

In objects of vision, however, this influence. of organic sensation is much more prevalent in the imitation than the reality: for painting being no ways connected with utility, but intended merely to please, mental habits, prejudices, and associations have much less controul over it than over the objects which it represents. In building and gardening, and still more in dress and furniture, the charms of neatness, propriety, richness, splendor, &c. often reconcile us to those harsh and discordant oppositions of colour, which, if imitated by painting, in all their native crudity, and without being softened and melted together by tender gradations of shadow, 'become glaringly offensive to every eye, and quite intolerable to those accustomed to the art. In the reality, also, much will depend upon the kind and degree of light to which objects are exposed; whence we can bear, and even require, much more brilliance and opposition of colour in the insides than on the outsides of buildings; and more in articles, that are to be seen by candlelight, than in those which are to be exposed to day-light for candle-light, moon-light, and twilight melt every thing into one mild hue;

H

CHAP.

V.

Of Sight.

СНАР.
V.

Of Sight.

through the harmonising medium of which, things the most offensively glittering, gaudy, and harsh, become beautifully rich, splendid, and mellow. Rembrandt seems to have drawn all his landscapes by twilight, and to have given himself no trouble in the selection of subjects. Extensive plains of barren down, bog, or fallow, intersected by rows of pollard trees, straight canals, mounds, and ditches, are so melted and blended together by this light, and so animated by the magic of his pencil, as to exhibit effects the most beautiful; though if seen or represented in the glare of a mid-day sun, they would be most disgustingly ugly. It is the influence of the same kind of light, or of candle-light, which renders gems, brocades, and tissues so beautifully mellow, rich, and splendid in his imitations; while in those of others, even of the greatest painters, they are either harsh or insipid, and not unfrequently both.

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