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CHAPTER VIII.
On the beautiful, and what might be called the picturesque in
colour
169
Why autumn, and not spring, is called the painter's season.... 171
Blossoms, which are so beautiful near the eye, have a spotty
appearance in the general landscape....
The first requisite of a picture, is to be a whole....
174
The colouring of the Venetian school formed upon the tints in
autumn-Note on the Ganymede of Titian
....
180
That of Rubens, on the fresh colours of spring
183
Character of the atmosphere, and the lights and shadows, in
spring, summer, autumn, and winter
184
CHAPTER IX.
On ugliness
Angles not ugly
187
ibid.
Deformity is to ugliness, what picturesqueness is to beauty.... 189
...... 202
Effects of the picturesque, when mixed with ugliness. . . . . .
The excess of the qualities of beauty, tend to insipidity: those
of picturesqueness to deformity.-Anecdote of an Anato-.
mist. Note..
Application to improvements
6. 204
... 207
Beauty, picturesqueness, and deformity, in the other senses .. 208
General summing up of the arguments, to shew that the pictu-..
resque has a distinct character.
....... 210
By what means the word came to be introduced into modern
anguages
.....
211
The character, not less distinct than those of envy, revenge, &c. 220
The reason why its distinctness has not been so accurately
marked
And why there are not more distinct terms and discriminations..!
in matters of taste .......
228
224
How far the principles of painting have been applied to im.
provements...
229
Kent the first improver on the present system....
230
General character of the old, and of the present system...... ibid.
Character of Kent.....
233
Reasons for having spoken of him. in such strong terms ·....
A painter of a liberal and comprehensive mind, the best judge
of his own art, and of all that relates to it: such was Sir
Joshua Reynolds.....
Character of his discourses
236
237
Nothing so contracts the mind, as mere practical dexterity • • • • ibid.
Hlustration from such dexterity in music. Note......, .ibid.
Want of connection, the great defect of modern gardening
Connection the great principle of painting....
238
Illustrated by the connecting particles in language. Note... 210
Mr. Brown-Quotation from Ariosto. Note
Grandeur in miniature. Note
The clump
Anecdote of Mr. Brown, when High Sheriff. Note.
The belt
That, and the avenue, compared.
Further remarks on the avenue
An avenue condemned by Mr. Brown, but saved by the owner,
Note.
252
Distinction between beautiful, and picturesque intricacy.
Impossible to plan any forms of plantations that will suit all
places Illustration from the art of medicine. Note.... 259
The usual method of thinning trees for the purpose of beauty 255 Ill effect of breaking an avenue into clumps..
VOL. J.
250
CHAPTER II.
Trees considered generally
Necessary accompaniments to rocks, mountains, and to every
kind of ground and water
An exception with regard to the sea
The variety and intricacy of trees
Those which are fullest of leaves, not always preferred by
painters
The reasons
Plantations made for ornament, the least suited to the painter
The established trees of the country ought to prevail in the new
plantations.
259
260
262
263
264
265
266
Note
.
Larches, and all pointed firs, make a bad general outline; and
as they outgrow the oak, &c. nothing else appears
Fascinating deformity of a clump, compared to that of a wart
or excrescence on the human face.
Even large plantations of firs, have a harsh effect, from their
not haruionizing with the natural woods of the
country
The necessity of a proper balance in all scenery, both in point
One cause of the heaviness of fir plantations, is their closeness 274
Appearance of the outside of a close fir plantation-of the
This points out the necessity of a mixture of thorns, hollies and
the lower growths, in all screens: likewise in ornamental
plantations
The advantage of such a mixture, if a plantation should be
Contrast of such a plantation, with a close wood of firs only.. 284
Its variety would not arise merely from a diversity of plants—
variety in forests produced by a few species...
286
Continual and unvaried diversity, a source and a species of
i .
monotony
287
Accident and neglect the sources of variety in unimproved parks
and forests
The reasons why lawns have so little variety.....
289
290
292
Why a lawn could hardly be made to look well in a picture.... 291
Yet their peculiar character ought not be destroyed ....
Verdure and smoothness, which are the characteristic beauties
of a lawn, are in their nature allied to monotony; but im-
provers instead of trying to lessen that defect, have added
to it
Soft and smooth colours, like soft and smooth sounds, are
grateful to the mere sense: a relish for artful combinations,
acquired by degrees
294
Such a relish does not exclude a taste for simple scenes, and
The turns of a beautiful natural river, compared with those of
Mr. Brown's artificial rivers
300
Remarks on certain passages of the poets, respecting the banks
of rivers; none of them applicable to those of Mr. Brown's
artificial water
No professor has endeavoured to make an artificial like a natural
river; though he would be proud of having it mistaken for
one
305
311
Mr. Brown and his followers great economists of invention.... 313
Cruelty of destroying the retired character of a brook.
lus. Note..
Objects of reflection, peculiarly suited to stagnant water
Remarks on the expression of a fine sheet of water
The great piece of water at Blenheim
Regu-
The dressed bank and garden scenery: the reason why that part
315
317
319
320
He does not appear to have paid any attention to the thinning
of his plantations....
is superior to the other improved parts...
Mr. Brown did not work in that part upon principle
Anecdote of a lover of paiuting: two cows can never group.
*Note
......
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Character of the water below the cascade at Blenheim........ 323
CONCLUDING CHAPTER.
General.reflections on the subject of the Essay..
Mr. Mason's poem, as real an attack on Mr. Brown's system,
325
328
... 331
333
334
338
339
341
342
Tribute to the memory of a near relation
...
Anecdote of Sir Joshua Reynolds and Wilson. Note
The true proser-an emblem of Mr. Brown's performances. •
The opposite character-an emblem of the picturesque
He alone deserves the name of an improver who leaves, or ere-
But the sickening display of art, and the total want of effect
tempts one to reverse the line of Tasso........
Appendix... sq o
Notes and Illustrations,
345
346
347
.. 371