Principles of the fine arts i. 14.

Proceleufmaticus ii. 143..

Prodigies) find ready credit with the yulgar i. 133.
Prologue of the ancient tragedy ij. 324..

Pronoun) defined ii. 52.

Pronunciation), rules for it ii. 68.75, &c. diftinguished from fing
ing i. 76. Singing and pronouncing compared ii. 77.

Propenfity) fometimes fo enlivened as to become an emotion i. 57.
97. opposed to affection i. 102. Opinion and belief influenced by
it. i. 138134. Propensity to juftify our paflions and actions í.
125 Propenfity to punish guilt and reward virtue i, 151, &c.—
Propensity to carry along the good or bad properties of one fub-
jece to another i. 59. 143. 159. ii. 4. 50. 54. 69. 89. 115, i16.
23. 238. Propensity to complete every work that is begun, and
to carry things to perfection i. 234. ii. 374. Propensity to com-
manicate to others every thing that affects us i. 390. Propenfity
to place together things mutually connected fi. 50. Propenfity
defined ii. 408, 499. See Principle.

Properties transferred from one fubject to another i. 59. 143. 159.
11. 450.59.6 89. 115 116.213.238,

Property) the affection man bears to his property i. 63. A fecond-
ary relation i. 267. note.

Prophecy) those who believe in prophecies with the accomplishment

Propriety) ch. 10. a fecondary relation i. 267. note. diftinguished
from congruity 1 268. diftinguithed from proportion i. 275,→→
Propriety in buildings i 366, 367.

Proportion) contributes to grandeur i., 171. diftinguished from
propriety 275. As to quantity coincides with congruity
75. examined as applied to architecture ii. 361. Proportion de-
fined ii. 406.

Profe) diftinguished from verfe ii. 79, &e..

Profpect) an unbounded profpect difagreeable i. 234. note. By
what means a profpect may be improved ii. 346, 347-
Provoked Husband) cenfured ii. 313..

Pun) defined 1. 313-

Punishment) in the place where the crime was committed i. 237.
Puniment of impropriety i. 273, &c. 277.'

Public games) of the Greeks i. 204,.

Phyrrhichius ii. 1437:

Qualities) primary and secondary i, 166. A quality cannot be con
ceived independent of the fubject to which it belongs ii. 41. Dif
ferent qualities perceived by different fenfes ii. 394, 395 Com-
municated to related objects. See Propenlity.

Quantity) with respect to melody ii. 84. Quantity with refpect to
English verfe . 96. Falfe quantity ii. 98.
Quintilian) cenffred I. 206, 20%,
Quintis Curtius) eenfüred i. 366.
Racinearita fd.i. 397. Cenfüred i. 401.5
Rape of the Lock) characterifed i. 292. Its
Reading) chief talent of a fine reader i. 338.
guire a flow pronunciation 1, 362. note.
26. compared with finging ii. 77,78.
Recity of external objectsi. 75.

verfe admirable ii. 84.
Plaintive pallions re-
Rules for reading ii.

Keaton) reafons to justify a favourite opinion are always at hand,
and inucir relifhed 1

Recitative ii. 81.

Refined pleasure i. 93.

Regularity) not fo eflential in great objects as in fmall i. 172. not
in a fmall work fo much as in one that is extenfive i. 172. How
far to be studied in architecture ii. 342. 357. 360. · How far
be
ftudied in a garden ii. 344. Regular fine defined if. 495. Regu-
妻 lar figure defined i1.406. Regularity proper and figurative ii. 406.
Relations i. 25. Have an influence in generating emotions and paf
lions i. 59, &c. Are the foundation of congruity and propriety
i. 265. Primary and fecondary relations is 267, note. In what
manner are relations expresied in words it. 36, c. The effect
that even the flighter relations have on the mind fi. 351.

Relative beauty i. 159. ii. 351,

Remorte) anguish of remorfe i, 146. its gratification i. 152. is not
mean i. 283.
Repartee 1. 315.

Repetitions, 282.

Reprefentation) its perfection lies in hiding itfelf and producing an
impreflion of reality ii. 329, 330...

Repulfive) object i. 149. Repuliive paffions i 346,

Refemblance) and difiumilitude, ch. 8. Refemblance in a feries of
objects ii. 12. The members of a fentence fignifying a refem-
blance betwixt objects ought to refemble each other ii. 27, &C.-
Refemblance betwixt found and fignification ii. 67. 69, 70. No
refemblance betwixt objects of different fenfes ii. 69. Refer-
bling caufes may produce effects that have no refeniblance, and
caufes that have no refemblance may produce reembling effects
ii. 69, &c. The fainteft refemblance betwixt found and fignifi-
cation gives the greatest pleasure li. 74, &c, Refemblance car-
ried too far in fome gardens ii. 344. note..

Refentment) explained i.r. &c. Difagreeable in excess i. 92.
Extended againft relations of the offender i. 129. Its gratifica
tion i. 151. When immoderate is filent i. 391.

Reft) neither agreeable nor difagreeable i. 201. explained ii. 402.
Revenge) animates but doth not elevate the mind i. 184. Has no
dignity in it i. 288. When immoderate is filent i. 391.

Reverie) caufe of the pleasure we have in it i. 79. 251.

Rhyme) for what fubjects it is proper ii, 137, &c. Melody of rhyme
ii. 136.

Rythmus) defined ii. 79.

Rich and poor put upon a level by habit i, 331.

Riches) love of, corrupts the taste ii. 391.

Riddle ii, 348.

Ridicule) a grofs pleasure i. 94. Is lofing ground in England i. 95.
Emotion of ridicule i. 220. Not concordant with grandeur i.
241. Ridicule i. 242, ch. 12. Whether it be a test of truth i, 299.
Ridiculous) diftinguifhed from rifible i. 220.

Right and wrong as to actions i. 39.

Rifible objects, ch. 7. Ritible diftinguished from ridiculous i. 220.
Room) its form.ii. 358.

Rubens) cenfured ii. 232.

Ruin ought not to be feen from a flower-parterre ii. 343. In what

form it ought to be ii. 350.

Salluft) cenfured for want of connection i. 33.

Sapphic verfe) has a very agreeable modulation ii. 8r.

Savage) knows little of focial affection i. 93.

Scorn i. 273. 290.

ལ་

Sculpture) imitates nature ii, 3. What emotions can be raised by
it ii. 389.

Secchia capita) characterifed i. 291..

Secondary qualities of matter i. 166, 167. Secondary relations 1.
267. note.

Seeing) in feeing we feel no impreffion ii. 397. Objects of fight are
all of them complex ii. 399.

Self-deceit i. 125. 382..

Selfish pathons i. 46, 47. Are pleasant i. 92. Lefs refined and lefs
pleafant than the focial i. 94. The pain of felfifh paffions more
fevere than of focial paffions 1. 94. Inferior in dignity to the focial
1. 285. A felfish emotion arifing from a focial principle i. 46. A
felfith motive arising from a focial principle i. 46..

Selfishness) promoted by luxury ii. 391. and alfo by love of riches
ii. 391

Self-love its prevalence accounted for i. 48. In excess disagreeable
1.492. Not inconfiftent with benevolence i. 149.

Semipaufe) in an hexameter line ii. 88. What femipaufes are found
in an English heroic line it. 101.

Senfation) defined i.396. defcribed ii. 401...

Sente) of order i. 29,&c. contributes to generate emotions i. 62, note,
and pations i. 66. Seafe of right and wrong i. 39. The veracity
of our fenfes i. 75. ii. 399. note. Senfe of congruity or propriety
1.205. of the dignity of human nature, i. 280. ii. 387. m its ex
ridicule i. 299. Senfe by which we discover a pallion from its ex-
ternal tigns 1.348. Senfe of a common nature in every species of
beings 1.99. ii. 883. Senfe, internal and external it. 394. In
touching, rafting and (melling, we feel the impreffion at the organ
of fenfe, not in feeing and hearing i. 9. li. 397.

Senfes whether active or paffive ii. 415.

Sentence) it detracts from neatnels towary the fcene in the fame
sentence i. gr. A fentence fo arranged as to exprefs the fenfe clear-
ly, feems always more mutical than where the fenfe is left in any
degree doubtful.ii. 50.

Sentiment) elevated, low i. 179. Sentiments, ch. 16. ought to be
fuited to the paffion i. 356. Sentiments, expreiling the fwelling
of paffion i. 364. exprelling the different flages of paflion i. 365.
dictated by coexiftent pallions' i. 366 Sentiments of strong paf
fions are hid or diffembled i. 369. Sentiments above the tone of
the pallion i. 371. below the Lone of the paffion i. 372. Senti-
ments too gay for a ferious paffion i. 373. too artificial for a fe-
rious paffion i. 374 fanciful or finical i, 376. difcordant with
character i. 378. mifplaced i. 380. Immoral fentiments expreff-
ed without difguife i. 381. unnatural i. 385. Sentiments both in
dramatic and epic compofitions ought to be fubfervient to the ac
tion ii. 303. Sentiment defined ii. 409.

Sentimental nufic i: 113. note.

Series) from fmall to great agreeable i. 177. Afcending feries i, 177,
Delcending feries i. 177. The effect of a number of objects placed
in an increasing or decreasing feries ii. 12.

Serpentine river) its beauty i. 202. ii. 353
Sertorius) of Corneille cenfured i. 364..
Shaft) of a column if 374.

Shakespear) his fentiments juft reprefentations of nature i. 361. is
fuperior to all other writers in delineating paffions and fentiments
1.395. excels in the knowledge of human nature 1. 396. note.
deals little in invertion ii. 130. excels in drawing characters .

266. his ftyle in, what respect excellent ii. 278. his dialogue finely
conducted ii. 401. deals not in barren fcenes ii. 315.

Shame) arifing from affection or averfion i. 99. is not mean i. 283.
Sight) influenced by paflion i. 142. 230, &c.

Similar emotions i, 104. their effects when coexiftent i. 106. ii. 365.
Similar pallions i. 116. Effects of coexiftent fimilar pallions i. 117.
Simple perception ii. 401.

Simplicity) tafte for fimplicity has produced many Utopian systems
of human nature i. 37. Beauty of fimplicity i. 161. abandoned
in the fine arts i. 166. a great beauty in tragedy ii. 313. ought
to be the governing tafte in gardening and architecture ii. 341.
Singing) diftinguished from pronouncing or reading ii. 76. Singing
and pronouncing compared ii. 77.

Situation) different fituations fuited to different buildings ii. 367.
Sky) the relish of it loft by familiarity i. 94.

Smelling) in fmelling we feel an impreflion upon the organ of fense
ii. 397:

Smoke) the pleasure of afcending fmoke accounted for i. 31. 203,
Social paffions i. 46. more refined and more plealant than the fenifh
i. 93. The pain of focial passions more mild than of selfish paflions
i. 94. Social pallions are of greater dignity is 285..
Society) advantages of i. 154. 156.

Soliloquy) has a foundation in nature i. 340. Soliloquies i. 399, &c.
Sophocles) generally correct in the dramatic rules ii. 334-

Sounds) power of founds to raise emotions i. 5o. concordant i. 103.
difcordant i. 103. difagreeable founds i. 112. fit for accompanying
certain paffions 1. 113. Sounds produce emotions that refemble
them i. 144. articulate how far agreeable to the ear ii. 7. A
fmooth found foothes the mind, and a rough found animates ii...
10. A continued found tends to lay us aileep, an interrupted
found roufes and animates ii. 33.

Space) natural computation of ipace i. 141, &c. Space explained

ii. 413..

Species) defined fi. 411.

Specific habit) defined i. 324.

Speech) power offpeech to raise emotions, whence derived i. 79.84.
Spondee) ii. 85, &c. 142.

Square) its beauty i. 163. 258.

Stairs their proportion i1.358.

Standard of tafte, ch. 25. Standard of morals ii. 385. 388,389, 390.
Star) in gardening ii: 345:

Statue) the reason why a ftatue is not coloured i. 239. The limbs
of a statue ought to be contrafted i. 256. An equestrian statue is
placed in a centre of ftreets that it may be feen from many places
at once ii. 279. Statues for adorning a building where to be
placed ii. 370. Statue of an animal pouring out water ii. 347.
of a water god pouring water out of his urn ii. 379 Statues of
animals employed as fupports condemned ii. 379. Naked statues
condemned ii. 366. note.

Steeple) ought to be pyramidal i. 257.
Strada) cenfured ii. 258.

Style) natural and inverted ii. 40, &c.
ftyle ii. 67. of an inverted style ii. 67.
nament ii. 282.

The beauties of a natural.
Concife ftyle a great or

Subject may be conceived independent of any particular quality ii.
40, 41. Subject with refpect to its qualities ii. 395. 414. Sub-
ject defined ii. 416.

Sublimity) ch. 4. Sublinie in poetry i. 179. General terms ought
to be avoided where fublimity is intended i, 19: Sublimity may
be employed indirectly to fink the mind i. 193. Falfe fublime i,

195, 197.

Subm. tion) natural foundation of fubmillion to government i.154,&c.
Subitauce) defined ii. 395.-

Subitratum) defined i. 395.

Sucettion) of perceptions and ideas i. 25, &c. 243, &c. In a quick
fuccedion of the most beautiful objects, we are fcarce fenfible of
any emotion i. 82. Succeilion of fyllables in a word ii. 8. of ob
jects ii. 12.

Superlatives) inferior writers deal in fuperlatives ii. 275.
Surprile) the effence of wit i. 28. 301. Initantaneous i. 117. 119. 260.
decays fuddenly i. 97. 203. pleafant or painful according to cir-
cumftances i. 299,
&c. Surprife the caufe of contraft i. 230. has an
influence upon our opinions, and even upon our eye fight 1. 239.
Surprife a filent pallion i. 391. Studied in Chinese gardens ii. 364.
Sufpenfe) an uneafy ftate i. 137.

Svreet diftrefs) explained i. 195.

Swift) his language always fuited to his fubject ii, 275. has a pecu,
liar energy of Ryle ii. 277. compared with Pope ii. 278.

Syllable ii. 7. Syllables confidered as compofing words ii. 8. Sylla-
bles long and fort ii. 8. 84. Many fyllables in English are arbitra-
*ry ii. 96.

Sympathy) fympathetic emotion of virtue i. 55, &c." The pain of
fympathy is voluntary i. 94. It improves the temper 1.94.

Sympathy i. 150. attractive i. 150, 352. never low nor mean i. 282.
the cement of fociety i. 351.

Synthetic) and analytic methods of reafoning compared i. 30.

Tacitus) excels in drawing characters ii. 266. his style comprehens
five ii. 282.

Taflo) centured ii. 306. 310.

Tafte) in tafting we feel an impreffion upon the organ of fenfe i. 9.
ii. 396. Taite in the fine arts though natural requires culture i.,
14. ii. 392. note. Tate in the fine arts compared with the mor-
al fenfe i. 14. its advantages i. 17, c. Delicacy of tafte i. 93. a
low tafte i. 179. Tafte in fome meafure influenced by reflection
ii. 374. note. The foundation of a right and wrong in tafte ii.
385. Tafte in the fiue arts as well as in morals corrupted by vo--
Tuptuoufhefs ii. 391, corrupted by love of riches ii. 391. Tafte
never naturally bad or wrong ii. 393. Aberrations from a true
taste in the fine arts ii. 389.

Tautology) a blemith in writing ii. 283.
Telemachus) an epic poem ii. 292. note. Cenfured ii. 311. note..
Temples of ancient and modern virtue in the gardens of Stow ii.
373.

Terence) cenfured i. 401, &c. ii. 334, 335.

Terror) arifes fometimes to its utmost height inftantaneously i. 97,
&c. a filent palion i. 391. Objects that trike terror have a fine
effect in poetry and painting ii. 286. The terror raised by trag-
edy explained ii. 297.

Theoremi) general theorems agreeable i. 165.

Time) past time expreffed as prefent i. 83, &c.

Natural compų:

tation of time i. 184, &c. Time explained ii. 41 3.

Titus Livius. See Livy.

Tone) of mind it. 396.