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CHAPTER VI.

OF IDEAS OF BEAUTY.

Any material object which can give us pleasure in the simple contemplation of its outward qualities without any direct and definite exertion of the intellect, I call in some way, or in

some degree, beautiful. Why we receive pleasure thetumi" beauti- from some forms and colors, and not from others,

is no more to be asked or answered than why we like sugar and dislike wormwood. The utmost subtilty of investigation will only lead us to ultimate instincts and principles of human nature, for which no farther reason can be given than the simple will of the Deity that we should be so created. We may, indeed, perceive, as far as we are acquainted with His nature, that we have been so constructed as, when in a healthy and cultivated state of mind, to derive pleasure from whatever things are illustrative of that nature; but we do not receive pleasure from them because they are illustrative of it, nor from any perception that they are illustrative of it, but instinctively and necessarily, as we derive sensual pleasure from the scent of a rose. On these primary principles of our nature, education and accident operate to an unlimited extent; they may be cultivated or checked, directed or diverted, gifted by right guidance with the most acute and faultless sense, or subjected by neglect to every phase of error and disease. He who has followed up these natural laws of aversion and desire, rendering them more and more authoritative by constant obedience, so as to derive pleasure always from that which God originally intended should give him pleasure, and who derives the greatest possible sum of pleasure from any given object, is a man of taste.

This, then, is the real meaning of this disputed i 2. Definition of word. Perfect taste is the faculty of receiving

the greatest possible pleasure from those material sources which are attractive to our moral nature in its purity anHjperfection. He who receives little pleasure from these sources, wants taste; he who receives pleasure from any other sources, has false or bad taste.

And it is thus that the term " taste" is to be betweentJieand distinguished from that of "judgment," with which it is constantly confounded. Judgment is a general term, expressing definite action of the intellect, and applicable to every kind of subject which can be submitted to it. There may be judgment of congruity, judgment of truth, judgment of justice, and judgment of difficulty and excellence. But all these exertions of the intellect are totally distinct from taste, properly so called, which is the instinctive and instant preferring of one material object to another without any obvious reason, except that it is proper to human* nature in its perfection so to do.

Observe, however, I do not mean by excluding ty may become in- direct exertion of the intellect from ideas of beauty, to assert that beauty has no effect upon nor connection with the intellect. All our moral feelings are so inwoven with our intellectual powers, that we cannot affect the one without in some degree addressing the other; and in all high ideas of beauty, it is more than probable that much of the pleasure depends on delicate and untraceable perceptions of fitness, propriety, and relation, which are purely intellectual, and through which we arrive at our noblest ideas of what is commonly and rightly called "intellectual beauty." But there is yet no immediate exertion of the intellect ; that is to say, if a person receiving even the noblest ideas of simple beauty be asked why he likes the object exciting them, he will not be able to give any distinct reason, nor to trace in his mind any formed thought, to which he can appeal as a source of pleasure. He will say that the thing gratifies, fills, hallows, exalts his mind, but he will not be able to say why, or how. If he can, and if he can show that he perceives in the object any expression of distinct thought, he has received more than an idea of beauty — it is an idea of relation.

Ideas of beauty are among the noblest which can be presented to the human mind, invariably exalting and purifying it according to their degree; and it would appear that we are intended by the Deity to be constantly under their influence, because there is not one single object in nature which

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and function of is not capable of conveying them, and which, to y' the rightly perceiving mind, does not present an incalculably greater number of beautiful than of deformed parts; there being in fact scarcely anything, in pure, undiseased nature, like positive deformity, but only degrees of beauty, or such slight and rare points of permitted contrast as may render all around them more valuable by their opposition, spots of blackness in creation, to make its colors felt.

But although everything in nature is more or

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the term "Ideal less beautiful, every species of object has its own kind and degree of beauty; some being in their own nature more beautiful than others, and few, if any, individuals possessing the utmost degree of beauty of which the species is capable. This utmost degree of specific beauty, necessarily coexistent with the utmost perfection of the object in other respects, is the ideal of the object.

Ideas of beauty, then, be it remembered, are the subjects of moral^ but not of intdtactiial. perception. By the investigation of them we shall be led to the knowledge of the ideal subjects of art.

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CHAPTER VII.

OP IDEAS OF RELATION.

I Use this term rather as one of convenience than as adequately expressive of the vast class of ideas which I wish to be comprehended under it, namely, all those conveyable by art, «i. General mean- which are the subjects of distinct intellectual peringof the term. ception and action, and which are therefore worthy of the name of thoughts. But as every thought, or definite exertion of intellect, implies two subjects, and some connection or relation inferred between them, the term " ideas of relation" is not incorrect, though it is inexpressive.

Under this head must be arranged everything Ire'to he compre- productive of expression, sentiment, and character,

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whether in figures or landscapes, (for there may be .as much definite expression and marked carrying out of particular thoughts in the treatment of inanimate as of animate nature,) every thing relating to the conception of the subject and to the congruity and relation of its parts ; not as they enhance each other,s beauty by known and constant laws of composition, but as they give each other expression and meaning, by particular application, requiring distinct thought to discover or to enjoy : the choice, for instance, of a particular lurid or appalling light, to illustrate an incident in itself terrible, or of a particular tone of pure color to prepare the mind for the expression of refined and delicate feeling; and, in a still higher sense, the invention of such incidents and thoughts as can be expressed in words as well as on canvas, and are totally independent of any means of art but such as may serve for the bare suggestion of them. The principal object in the foreground of Turner,s " Building of Carthage" is a group of children sailing toy boats. The exquisite choice of this incident, as expressive of the ruling passion, which was to be the source of future greatness, in preference to the tumult of busy stone-masons or arming soldiers, is quite as appreciable when it is told as when it is seen,—it has nothing to do with the technicalities of painting; a scratch of the pen would have conveyed the idea and spoken to the intellect as much as the elaborate realizations of color. Such a thought as this is something far above all art; it is epic poetry of the highest order. Claude, in subjects of the same kind, commonly introduces people carrying red trunks with iron locks about, and dwells, with infantine delight, on the lustre of the leather and the ornaments of the iron. The intellect can have no occupation here; we must look to the imitation or to nothing. Consequently, Turner rises above Claude in the very first instant of the conception of his picture, and acquires an intellectual superiority which no powers of the draughtsman or the artist (supposing that such existed in his antagonist} could ever wrest from him.

Such are the function and force of ideas of lilts nobiiily of relation. They are what I have asserted in the second chapter of this section to be the noblest subjects of art. Dependent upon it only for expression, they cause all the rest of its complicated sources of pleasure to take, in comparison with them, the place of mere language or decoration; nay, even the noblest ideas of beauty sink at once beside these into subordination and subjection. It would add little to the influence of Landseer,s picture above instanced, Chap. II., § 4, that the form of the dog should be conceived with every perfection of curve and color which its nature was capable of, and that the ideal lines should be carried out with the science of a Praxiteles; nay, the instant that the beauty so obtained interfered with the impression of agony and desolation, and drew the mind away from the feeling of the animal to its outward form, that instant would the picture become monstrous and degraded. The utmost glory of the human body is a mean subject of contemplation, compared to the emotion, exertion and character of that which animates it; the lustre of the limbs of the Aphrodite is faint beside that of the brow of the Madonna ; and the divine form of the Greek god, except as it is the incarnation and expression of divine mind, is degraded beside the passion and the prophecy of the vaults of the Sistine.

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