A room of a moderate fize, looks lefs by having a ceiling lower than in proportion. The fame low celling makes a very large room look larger than it is in reality.

Thefe experiments are by far too small a stock for a general theory. But they are all that occur at prefent; and without attempting any regular fyftem, I fhall fatisfy myself with a few conjectures.

The largest angle of vifion feems to me the natural measure of space. The eye is the only judge; and in examining with it the fize of any plain, or the length of any line, the muft accurate method that can be taken is, to run over the object in parts. The largest part that can be taken in at one stedfast look, determines the largest angle of vifion; and when that angle is given, one may inftitute a calculation by trying with the eye how many of these parts are in the whole.

Whether this angle be the fame in all men, I know not. The fmalleft angle of vifion is afcertained; and to afcertain the largest angle, would not be lefs curious.

im

But fuppofing it known, it would be a very perfect measure; perhaps more fo than the natural measure of time. It requires great fteadiness of eye to measure a line with any accuracy, by apply ing to it the largest angle of diftinct vifion. And suppose this steadiness to be acquired by practice, the measure will be imperfect from other circumstances. The space comprehended under this angle, will be different according to the diftance, and alfo according to the fituation of the object. Of a perpendicular this angle will comprehend the fmalleft fpace. The space will be larger in looking upon an inclined plain; and will be larger or lefs in proportion to the degree of inclination.

This measure of fpace, like the measure of time, is liable to fome extraordinary errors from certain operations

appear

operations of the mind, which will account for fome of the erroneous judgments above mentioned. The space marked out for a dwelling-houfe, where the eye is at any reasonable diftance, is feldom greater than can be feen at once without moving the head. Divide this fpace into two or three equal none of these parts wil parts, and much lefs than what can be comprehended at one diftin&t look; confequently each of them will appear equal,. or nearly equal, to what the whole did before the divifion. If, on the other hand, the whole be very fmall, fo as fcarce to fill the eye at one look, its divifions into parts will, I conjecture, make it appear ftill lefs. The minutenefs of the parts is, by an eafy tranfition of ideas, transferred to the whole. Each part hath a diminutive appearance, and by the intimate connection of thefe parts with the whole, we pass the fame judgment upon all.

The space marked out for a small garden, is furveyed almost at one view; and requires a motion of the eye fo flight, as to pafs for an object that can be comprehended under the largest angle of diftin&t vifion. If not divided into too many parts, we are apt to form the fame judgment of each part; and confequently to magnify the garden in proportion to the number of its parts.

A very large plain without protuberances, is an object not lefs rare than beautiful; and in thofe who fee it for the first time, it must produce an emotion of wonder. This emotion, however flight, tending to its own gratification, imposes upon the mind, and makes it judge that the plain is larger than it is in reality. Divide this plain into parts,. and our wonder ceafes. It is no longer confidered as one great plain, but as fo many different fields or inclosures.

The first time one beholds the fea, it appears to be large beyond all bounds. When it becomes familiar,

G 5

miliar, and raises our wonder in no degree, it appears lefs than it is in reality. In a ftorm it appears larger, being diftinguishable by the rolling waves into a number of great parts. Iflands fcattered at confiderable distances, add in appearance to its fize. Each intercepted part looks extremely large, and we filently apply arithmetic to increase the appearance of the whole. Many islands fcattered at hand, give a diminutive appearance to the fea, by its connection with its diminutive parts. The Lomond lake would undoubtedly look larger without its islands.

Furniture increaseth in appearance the size of a fmall room, for the fame reafon that divifions increase in appearance the fize of a garden. The emotion of wonder which is raifed by a very largeroom without furniture, makes it look larger than it is in reality. If completely furnished, we view it in parts, and our wonder is not raifed..

A low ceiling hath a diminutive appearance, which, by an eafy transition of ideas, is communicated to the length and breadth, provided they bear any fort of proportion to the height. If they be out of all proportion, the oppofition feizes the mind, and raises fome degree of wonder, which makes the difference appear greater than it really is,.

PART. VI. Of the refemblance emotions bear to their causes.

TH

HAT emotions bear a certain refemmany blance to their caufes, is a truth that can be made clear by induction; though, fo far as I know, the obfervation has not been made by any writer. Motion, in its different circumftances, is productive of feelings that refemble it: Sluggish motion, for example, caufeth a languid unpleasant feeling; flow uniform motion, a feeling calm and pleafant; and brisk motion, a lively feeling that roufes the fpirits and promotes activity. A fall of water through

rock's,

rocks, raifes in the mind a tumultuous confufed agitation, extremely fimilar to its caufe. When force is exerted with any effort, the spectator feels a fimilar effort as of force exerted within his mind. A large object fwells the heart. An elevated object makes the fpectator stand erect.

Sounds alfo produce emotions that refemble them. A found in a low key, brings down the mind. Such a found in a full tone, hath a certain folemnity, which it communicates to the emotion produced by it. A found in a high key, chears the mind by raifing it. Such a found in a full tone, both elevates and fwells the mind.

Again, a wall or pillar that declines from the perpendicular, produceth a painful emotion, as of a tottering and falling within the mind. An emotion fomewhat fimilar is produced by a tall pillar that ftands fo ticklish as to look like falling. For this realon, a column upon a bafe looks better than upon the naked ground. The bafe, which makes a part of the column, infpires a feeling of firmnefs and ftability. The ground fupporting a naked column is too large to be confidered as its bafe. Ad for the fame reafon, a cube as a bafe, is preferred. before a cylinder, though the latter is a more of a cube, being extended to a greater diftance from the centre than tended to a greater the circumference of a cylinder, give the column a greater appearance of fta ility. This excludes hot a different reafon, that the bafe, fhaft, and capital, of a pillar, ought, for the fake of variety, to differ from each other. If the fhaft be, round, the bafe and capital ought to be fquare.

beautiful figure. The athei

A contrained polture, unealy to, the man himfelf, is difagreeable to the fpectator; which makes it a rule in painting, that the drapery ought not to adhere to the body, but hang loofe, that the figures may appear eafy and free in their morents.

Hace

Hence the disagreeable figure of a French dancingmafter in one of Hogarth's pieces. It is alfo ridiculous, because the constraint is affumed and not forced.

The foregoing obfervation is not confined to emotions raised by still life. It holds alfo in those which are raised by the qualities, actions, and paffions, of a fenfible being. Love infpired by a fine woman, affumes her qualities. It is fublime, foft, tender, fevere, or gay, according to its caufe. This is ftill more remarkable in emotions raised by human actions. It hath already been remarked *, that any fignal inftance of gratitude, befide procuring efteem for the author, raifeth in the fpectator a vague emotion of gratitude, which difpofeth him to be grateful. I now further remark, that this vague emotion, being of the fame kind with what produced the grateful action, hath a strong refemblance to its caufe. Courage exerted infpires the reader as well as the fpectator with a like emotion of courage. A juft action fortifies our love to juftice, and a generous action roufes our generofity. In fhort, with respect to all virtuous actions, it will be found by induction, that they lead us to imitation by infpiring emotions refembling the paf-. fions that produced thefe actions. And hence the benefit of dealing in choice books and in choice. company.

2

Grief as as joy are infectious: the emotions they raife in a fpectator refemble them perfectly.. Fear is equally infectious: and hence in an army, fear, even from the flighteft caufe, making an impreffion on a few, fpreads generally through all, and. becomes an univerfal panic. Pity is fimilar to its caufe. A parting fcene betwixt lovers or friends, produceth in the fpectator a fort of pity, which is tender like the diftrefs. The anguish of remorfe, produceth pity of a harsh kind; and if the remorfe

Part 1. of this chapter, fect. 3,

be