r human expression at all.

Sec. 8. I say, in so far as they have mental expression, because their
merely outward delightfulness--that which makes them pleasant in
painting, or, in the literal sense, picturesque--is their actual variety
of color and form. A broken stone has necessarily more various forms in
it than a whole one; a bent roof has more various curves in it than a
straight one; every excrescence or cleft involves some additional
complexity of light and shade, and every stain of moss on eaves or wall
adds to the delightfulness of color. Hence, in a completely picturesque
object, as an old cottage or mill, there are introduced, by various
circumstances not essential to it, but, on the whole, generally somewhat
detrimental to it as cottage or mill, such elements of sublimity--complex
light and shade, varied color, undulatory form, and so on--as can
generally be found only in noble natural objects, woods, rocks, or
mountains. This sublimity, belonging in a parasitical manner to the
building, renders it, in the usual sense of the word, "picturesque."

[Illustration: 19. The Picturesque of Windmills.
1. Pure Modern. 2. Turnerian.]

Sec. 9. Now, if this outward sublimity be sought for by the painter,
without any regard for the real nature of the thing, and without any
comprehension of the pathos of character hidden beneath, it forms the
low school of the surface-picturesque; that which fills ordinary
drawing-books and scrap-books, and employs, perhaps, the most popular
living landscape painters of France, England, and Germany. But if these
same outward characters be sought for in subordination to the inner
character of the object, every source of pleasurableness being refused
which is incompatible with that, while perfect sympathy is felt at the
same time with the object as to all that it tells of itself in those
sorrowful by-words, we have the school of true or noble picturesque;
still distinguished from the school of pure beauty and sublimity,
because, in its subjects, the pathos and sublimity are all _by the way_,
as in Calais old spire,--not inherent, as in a lovely tree or mountain;
while it is distinguished still more from the schools of the lower
picturesque by its tender sympathy, and its refusal of all sources of
pleasure inconsistent with the perfect nature of the thing to be
studied.

Sec. 10. The reader will only be convinced of the broad scope of this law
by careful thought, and c