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Ibid. D 4 The Of the 49 tajle of beauty. PART I, The fplendor of a finglc figure in hiftorypainting will but augment its faultinefs, if it takes off the eye principal, and from what ought to be the the effect obftructs fhould be produced by the whole. which In com- m the moft refined reflections, the oft pofition elaborate defcriptions, the warmeft pathos difpleafe j if main they do they retard, the the parts mould be they break the unity, not promote, much more defign, to which if if all fubordinate f Sed nunc non trat his locus The impropriety .

Y. ver. 184. perhaps necefTary to repeat, that we here intend nly the fublime predfcly confidercd ; for the term is often (r) It is THE SECT. II. gffindcur and fublimity. 29 < THE principles alfo plain we have laid down ex- fublime of mufic the ; which feems to be derived in part from the length and the gravity of the notes ; (he former conftituting a kind of amplitude to the ear; the latter contributing to that compofure and fedate expanfion of the rnind, which attends the perception of fublimity j and is then compleated, when the artift, by ikilfully imitat- ing the fublime paffions or their objects, inand renders them fpires them into his hearers, confcious of their operation.

The idea fuggefted by drefs is difis the relifh ferent in different perions, fo alfo for the colour what fuggefts to one a liveand vivacity of turn, gives another the idea of gaudinefs and levity ; the fame drefs -, linefs may convey to fome the idea of gravity fedatenefs, to others that of dullnefs and and au- fterity. COLOURS, as applied in painting, come un- der confideration here only in refpedl of their delicacy or vivacity j which, however efti- mable, are not yet of fo great importance, as the power they have of reprefenting grandeur or beauty of figure, or of exhibiting folid bodies, by fuch an artful and ingenious imita- tion, as itfelf delights us, in a way hereafter to be explained.

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An Essay on Taste by Alexander Gerard

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