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Show 125 was the visual equivalent to the "poetic" in literature. By the nineteenth century, various distinct meanings of the word "picturesque" had evolved; all, however, depended upon the artistic qualities that affected the sensibilities of the artist and viewer as much or even more than the painting's actual components. Around the mid-eighteenth century, there evolved a heightened awareness and feeling for nature, manifested in the arts, literature, and the natural sciences. A fascination with the exotic, the medieval, and the "sensibilities" was formalized in Edmund Burke's (1729-1797) Philosophical Inquiry into the Origins of Our Ideas on the Sublime and Beautiful, published in 1757. This manifesto of the romantic movement proposed that the awesome and infinite in nature were primary sources for aesthetic satisfaction. Archibald Allison further defined the picturesque in his Essay of the Nature and Principles of Taste, published in 1790. Allison proposed that all aesthetic appreciation of nature and art rested solely in the imaginative extension of associated ideas. This theory, developed by John Locke in the eighteenth century, was enthusiastically embraced by the romantic movement and was fundamental in explaining how art was capable of stimulating the emotions. The definition of the picturesque was extended yet further in Uvedale Price's Essay on the Picturesque, published in 1794. Much of the emotionalism of the romantic movement in general and of the picturesque tradition in particular can be traced to this tract, in which Price proposed that most great art and all of nature could only be truly appreciated through direct observation, not through artificial and academic formulas. Price joined with Burke in defining the picturesque as comprising physical qualities that could directly and immediately affect the viewer's sensibilities. These physical qualities were believed to correspond neatly with those "leading principles" that had defined paintings ranging from the Venetian school of Giorgione to seventeenth-century landscapes such as those of Salvator Rosa (Beraldi refers to Bodmer as another Salvator Rosa) to landscapes by Rubens and Rembrandt. The first "principle" of all of these paintings was "connection." This connection was defined as a generalized fusion of all visible qualities, much like the effect produced by evening light. The most picturesque of these visible qualities was defined as "intricacy," in which light and shadow, rich coloring, and variety of disposition and form united to heighten the viewer's sensibilities. Out of this literary and philosophic tradition, several distinct types of the picturesque evolved. These included a nostalgic and melancholy yearning for the lost Golden Age of antiquity (typified by the romantic's fascination with |