xii, section vii.

[4] Sentimentalism approaches its subject through the feelings;
romanticism through the imagination.

[5] Ruskin, too indicates the common element in romanticism and
naturalism--a desire to escape from the Augustan formalism. I condense
the passage slightly: "To powder the hair, to patch the cheek, to hoop
the body, to buckle the foot, were all part and parcel of the same system
which reduced streets to brick walls and pictures to brown stains.
Reaction from this state was inevitable, and accordingly men steal out to
the fields and mountains; and, finding among these color and liberty and
variety and power, rejoice in all the wildest shattering of the mountain
side, as an opposition to Gower Street. It is not, however, only to
existing inanimate nature that our want of beauty in person and dress has
driven us. The imagination of it, as it was seen in our ancestors,
haunts us continually. We look fondly back to the manners of the age
sought in the centuries which we profess to have surpassed in
everything. . . This romantic love of beauty, forced to seek in history
and in external nature the satisfaction it cannot find in ordinary
life."--_Modern Painters_, Vol. III. p. 260.

[6] Although devout in their admiration for antiquity, the writers of the
seventeenth century have by no means always clearly grasped the object of
their cult. Though they may understand Latin tradition, they have
certainly never entered into the freer, more original spirit of Greek
art. They have but an incomplete, superficial conception of
Hellenism. . . Boileau celebrates but does not understand Pindar. . .
The seventeenth century comprehended Homer no better than Pindar. What
we miss in them is exactly what we like best in his epopee--the vast