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18. Mixed Qualities and Sensations-how separated. 19. Adverse Opinions of Mr. Price and Boileau. 20. Grottesques. 21. Mixed Qualities and Sensations further explained. 22. Consequence of Mr. Burke's Doctrine of Beauty. 23. Mr. Burke's System compared with that of Sir

Joshua Reynolds. 24. Illustrated by Examples of the Temples of Vesta

and Indian Domes. 25. 'The latter further examined. Mental Sympathies. 26. Beauties of Colour and Form in Animals. Ap

propriated Beauties of particular Kinds, de

pending on Habit. Irregularity. 27. Sexual Predilections—their Influence and Ef.

fects. 28. Force of Light—as reflected. 29. As acting directly upon the Eye. Mr. Burke's

Error. 30. Darkness. Mr. Burke's Notion of it examined. 31. Other Privations compared with it. 32. Difficulty of considering Sensation alone. 33. Particularly in Vision. 34. Progress of Perception. 35. Its Effect in reducing the Pleasures of Sense.

PART II. p. 99.

OF THE ASSOCIATION OF IDEAS.

CHAP. I. OF KNOWLEDGE OR IMPROVED

PERCEPTION.

1. Artificial Perception-how far independent of

organic Sensation. 2. Imitative Art.

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3. Imitation in general. 4. Its Pleasures of short Dutation. 5. Science in Art-its Pleasures. 6. Whence derived. 7. Originals and Copies—their Difference. 8. Drawings and unfinished Sketches. 9. Juvenile and imperfect Works. 10. Mental Habits-their Effect on Sensation. 11. Exactitude of Imitation where vicious. 12. Where just and necessary-in Painting. 13. In Sculpture. 14. Sculpture compared with Painting. 15. Poetry with Music. 16. Articulate Language and inarticulate Notes. 17. Idiom in Language, Rhythm, Prosody. 18. Melody in Language. 19. Modes of Articulation. 20. Verse considered in the Abstract. 21. As connected with Sense or Meaning. 22. With Passion, Sentiment, and Sympathy. 23. Irregularity and Variety comparatively consi

dered—in Poetry and Music-in Sculpture

and Painting24. Pope and Milton. 25. English Verse—its Nature and Character. 26. General distinct Characters of Verse and Prose. 27. Verse necessary to Poetry, and wherefore. 28. Paradise Lost. 29. English Blank Verse-its Defects in Milton. 30. In Thomson and Cowper. 31. Inversions and Transpositions. 32. Collocation of Words. Order of the Imagina

tion. Order of the Understanding. 33. Their different Effects in Poetry.

34. Various Effects of Verse. 35. Vicious Modes of pronouncing Greek and Latin. 36, 37. Why they do not destroy the Character of

Verse.

CHAP. II. OF IMAGINATION.

1. Association of Ideas—when become habitual,

involuntary. 2. Its Effects on Temper and Disposition. Lunacy. 3. Intoxication. 4. Dreams. 5. Anxiety, Grief, and Vexation. 6. Vivacity, Wit, Madness. 7. Idiocy. 8. Memory-how connected with Imagination. 9. Memory-artificial. 10. Natural, but unregulated. 11. Prosers and Prattlers. 12. Pleasures of Intellect-in natural Objects. 13. In social and moral.

14. In the fine Arts. 015. The Picturesque. ? 16. Origin and Use of this Word.

17. Its proper Meaning. 13. Style of Painting at its Revival. 29. Ils Defects. 20. How changed and corrected. 21. Thence the Distinction of Picturesque. 22. Which could not have existed before. 23. In what Sense picturesque Objects may not be

beautiful. 24. Objects purely picturesque. 25. Pleasures of Sense and Intellect improve each

other.

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. 0 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 einployed 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. Refinemest and Escess—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 Iinitation in Principles.

55. Lightness in Painting. Flowing Lines. Rubens. 56. Corregio. 57. Sexual Beauty-mits Principle. 58. Sudden Love. 59. Love, as existing among civilized and savage

Men, and brute Animals, comparatively con

gidered. 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 70. Classical. 71. Romantic. 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 Nlustration. 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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