CONTENTS. 



CHAPTER VI. 

 It has been doubted by«ome whether smoothness be essential 



to the beautiful ••• 113 



Effects of smoothness, and of roughness, in producing the beau- 

 tiful and the picturesque, by means of repose and irritation - • 115 



Exemplified in scenery •*• 121 



Repose, the peculiar characteristic of Claude's pictures- 125 



Character of the pleasures that arise from irritation 126 



Character of Rubens's light and shadow 128 



Ditto of Correggio's « 129 



Ditto of Claude's — his landscapes compared with those of 

 Rubens — Illustration from the different characters of smiles, 



Note • 131 



Ditto of Rembrandt • • • • • • 133 



Anecdote of Sir Joshua Reynolds. Note • • • 135 



Antique statues, standards of grandeur and beauty 1SS 



The grandest style of painting, that of the Roman and Floren- 

 tine schools * ******* 1^3 



The Venetian style, the ornamental, or picturesque 142 



Correggio's style, as descrihed by Sir Joshua Reynolds, might 



justly be called the beautiful style - 143 



Each style of painting, corresponds with the characteristic marks 

 of the grand, the beautiful, and the picturesque in real objects 145 



CHAPTER VII. 



Breadth of light and shadow «•«* 147 



Twilight.— Quotation from Milton. Note ISO 



Its effect should be studied by improvers 152 



Difficulty of uniting breadth with detail 156 



Breadth alone insufficient; but preferable to detail without 



breadth 153 



Application of the principle of breadth to improvement 159 



Objections to buildings being made too white 160 



Mr. Walpole'* expression of the gentleman with the foolish 



teeth. Note 163 



Distinctness »•.»,« ' * " • ^ 



