July 15, 2017

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Are each sublime. Both ancient & modern authors have treated of this. Longinus among the ancients is inferior to none on this subject. 25 Mr. Addison has treated of it in his The words in brackets are a guess, being illegible in the manuscript. De Providentia, II. 9. 24 I do not believe Reid's English is incorrect here. He has simply used an archaic construction. Cf. " 2S The pseudo-Longinian treatise, On the Sublime, had been a primary influence on Enlightenment aesthetics and criticism; by Reid's time, it was common property.

Hence this is the end of painting: to express the various passions of the mind in the face and gesture. This is the end of historical painting, and of this everyone is a proper judge. This judgement is natural and does not arise from experience. This is evident from this circumstance: we pay no attention to the sign but to the thing signified, as in a painting it is the passion we attend to, not the particular formation ofthe features. Every man can tell what is the passion by which a man is affected when he sees the countenance; but he cannot tell the particular formation of the features and countenance and the gesture for to express this passion.

He remarks too that it is 32 Reid has made this note on an adjoining blank page: "See, from line 350 to 376Book 1. " The references are to Akenside's Pleasures o/the Imagination. There are, it should be noted, two versions of the work. Reid's references correspond to the first. 44 LECTURES ON THE FINE ARTS evident when the means attain the end in view, especially if it be a good end. I come now to speak of the beauty of the human figure. Hogarth has wrote an essay on this subject in which there are many very ingenious observations.

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