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THE NEW YORK
PUBLIC LIBRARY

ASTOR, LENOX AND
TIL DEN FOUNDATIONS.

1909

Entered, according to Act of Congress, in the year 1840, by

Thomas C. UPHAM, in the Clerk's office of the District Court of Maine.

CONTENTS.

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Section

20. Grounds or occasions of emotions of beauty various :

21. Illustrations of the foregoing statement

22. Of the objects in general which excite emotions of beauty . .

23. All objects not equally fitted to cause these emotions

24. A susceptibility of emotions of beauty an ultimate principie of our

mental constitution . .

25. Remarks on the beauty of forms.—The circle

26. Original or intrinsic beauty. — The circle . .

27. Of the beauty of straight and angular forms .

28. Of square, pyramidal, and triangular forms.

29. The variety of the sources of that beauty, which is founded on

forms, illustrated from the different styles of architecture .

30. Of the original or intrinsic beauty of colours ,

31. Further illustrations of the original beauty of colours . .

32. Of sounds considered as a source of beauty . . . . .

33. Illustrations of the original beauty of sounds

34. Further instances of the original beauty of sounds

35. The permanency of musical power dependant on its being intrinsic

36. Of motion as an element of beauty

37. Explanations of the beauty of motion from Kaimes

38. Or intellectual and moral objects as a source of the beautiful .

39. Of a distinct sense or faculty of beauty

Chap. III.-ASSOCIATED BEAUTY.

40. Associated beauty implies an antecedent or intrinsic beauty

41. Objects may become beautiful by association merely . .

42. Further illustrations of associated feelings. . . .

43. Instances of national associations

44. The sources of associated beauty coincident with those of hum:

happiness . . . .

45. Of fitness considered as an element of associated beauty .

46. Or utility as an element of associated beauty

47. Of proportion as an element of associated beauty

48. Relations of emotions of beauty to the fine arts.

49. Differences of original susceptibility of this emotion . .

50. Objection to the doctrine of original beauty . . . .

5). Summary of views in regard to the beautiful . . .

52. Of picturesque beauty · · · · · · · ·

Chap. IV.-EMOTIONS OF SUBLIMITY.

53. Connexion between beauty and sublimity . .

54. The occasions of the emotions of sublimity various .

55. Great extent or expansion an occasion of sublimity .

56. Great height an element or occasion of sublimity . .

57. Of depth in connexion with the sublime . . . .

58. Of colours in connexion with the sublime

59. Of sounds as furnishing an occasion of sublime emotions .

60. Of motion in connexion with the sublime.

61. Indications of power accompanied by emotions of the sublime

62. Of moral worth in connexion with sublimity .

63. Sublime objects have some elements of beauty .

64. Emotions of grandeur. ..

65. Of the original or primary sublimity of objects .

66. Considerations in proof of the original sublimity of objects. .

67. Influence of association on emotions of sublimity

68. Further illustrations of sublimity from association . . .

Chap. V.-NATURE OF INTELLECTUAL TASTE.

69. Definition of taste, and some of its characteristics . . . 91

70. Distinguishable from mere quickness of feeling or sensibility . 92

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