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the accuracy of which I have no doubt may be safely relied on. The third volume remains nearly as it was, with scarcely any alteration: there is, however, one addition to the Dialogue, of a few last words, by way of summing up the points of the controversy, and likewise an appendix, which, like the note just mentioned, was occasioned by some strictures of Mr. Knight's, and almost equals it in length. I am still very largely in his debt, on Mr. Burke's, as well as on my own account; and am ashamed of being so long in arrears. However slow, I hope at last to leave nothing unpaid; but as I have undertaken the defence of such a man as Mr. Burke, I feel anxious that it should be as little unworthy of him, as it is in my power to make it.

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CHAPTER VI. :

It has been doubted by some whether smootliness 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

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,

Notc

131

Ditto of Rembrandt

133

Anecdote of Sir Joshua Reynolds. Note...

135

Antique statues, standards of grandeur and beauty....

138

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

195

The Venetian style, the ornamental, or picturesque

142

Correggio's style, as described 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...

..... 150

Its effect should be studied by improvers

152

Difficulty of uniting breadth with detail....

156

Breadth alone insufficient; but preferable to detail without

breadth:

158

Application of the principle of breadth to improvement

159

Objections to buildings being made too white....

160

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

teethNote

163

Distinctness

166

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