Peterborough is a beautiful instance of such an adaptation. It is
always, then, to be remembered that repetition is not assimilation.
239. Fifthly, when any attribute is necessarily beautiful, that is,
beautiful in every place and circumstance, we need hardly say that the
contrast consisting in its absence is painful. It is only when beauty is
local or accidental that opposition may be employed.
Sixthly. The _edge_ of all contrasts, so to speak, should be as soft as
is consistent with decisive effect. We mean, that a gradual change is
better than instantaneous transfiguration; for, though always less
effective, it is more agreeable. But this must be left very much to the
judgment.
Seventhly. We must be very careful in ascertaining whether any given
contrast is obtained by freedom from external, or absence of internal,
energy, for it is often a difficult point to decide. Thus, the peace of
the Alpine valley might, at first, seem to be a contrast caused by the
want of the character of strength and sublimity manifested in the hills;
but it is really caused by the freedom from the general and external
influence of violence and desolation.
240. These, then, are principles applicable to all arts, without a
single exception, and of particular importance in painting and
architecture.
Pages:
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233