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CHAP.

V.

Of Sight.

over the sense, as to make it reject almost every gratification, 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.

CHAP. 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.

PART II.

OF THE ASSOCIATION OF IDEAS.

CHAPTER I.

OF KNOWLEDGE OR IMPROVED PERCEPTION.

CHAP.

I.

1. THE faculty of improved or artificial perception, being acquired in the manner stated. Of improved in the concluding sections of the last Chapter Perception. of the first Part, continues to improve through the subsequent stages of our lives as long as our minds retain their vigour; and becomes so far independent of the organs of sense, from which it is derived, and through which it continues to be exercised, that it often exists in its highest state of perfection, when those organs are enfeebled by age, and verging to decay. A musician can tune an instrument, after his hearing has become defective, more accurately than a person with the nicest ear, who has not been used to discriminate sounds; and a vintner, who has been in the constant habit of tasting wine, and attending to its flavour, though his organs be blunted by age and vitiated by intemperance, will distinguish the genuine juice of the grape, or point out the modes and de

CHAP.

I.

grees of its adulteration, with more certainty and precision than an unexperienced person, Of improved who enjoys the utmost sensibility of palate; Perception. but who never having accustomed himself to discriminate the impressions upon his organs and observe them separately; nor having any analogous ideas pre-existing in his mind, by which to measure and examine them, considers every compound sensation collectively and alone; and consequently, if the irritation be not very harsh and discordant, finds it pleasant, whatever may have been the causes, which excited it.

2. All refinement of taste, therefore, in the liberal arts, arises, in the first instance, from this faculty of improved perception: for painting, sculpture, music, and poetry are all in their principles, as Aristotle has observed, imitative arts*; whence the only pleasures, which the ignorant and unexperienced receive from them, except those of sensation and mental sympathy before explained, are derived from mere imitation.

3. Man, as the same great philosopher observes, is by nature an imitative animal †; and, as those faculties of his mind, by which he has risen so much above the rest of the creation, are owing in a great degree, to one individual

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