Table-Talk · Chapter
On the Picturesque and Ideal explained
Hazlitt defines the picturesque as that which stands out through contrast and peculiarity, and the ideal as that which satisfies the mind's longing for harmony and beauty.
What happens
Hazlitt defines the picturesque as that which stands out through contrast and peculiarity, and the ideal as that which satisfies the mind's longing for harmony and beauty. He contrasts painters like Rubens, Rembrandt, Correggio, Van Dyke, Paul Veronese, and Claude, and discusses how the picturesque and ideal can coexist in objects like rainbows and moonlight. He also touches on the ideal in love and Shakespeare's Juliet, and recounts an anecdote about viewing Veronese's 'Marriage of Cana' at the Louvre.
Themes in this chapter
Art and Nature
Hazlitt distinguishes between the natural, the picturesque, and the ideal in visual art, using examples from painters and natural objects.
Criticism and Critical Practice
The chapter is a critical analysis of artistic categories, comparing painters and their techniques to define the picturesque and ideal.
The Psychology of Habit and Novelty
The picturesque is tied to surprise and contrast (novelty), while the ideal is tied to sustained satisfaction and harmony (habitual longing).
Characters to notice
- William Hazlitt
Author and narrator; defines the picturesque and ideal, contrasts painters, and recounts personal experience at the Louvre.
- Mr. Northcote
Mentioned in reference to his study of Gadshill, where a white horse's head contrasts with a dark face.
- Paul Veronese
Cited for his compositional rule 'black upon white, and white upon black' and his painting 'Marriage of Cana'.
- Peter Paul Rubens
Described as the most picturesque of painters but almost the least ideal; his landscapes are called picturesque.
- Claude Lorrain
Described as ideal in landscape, with softness and proportion, in contrast to Rubens.
- William Shakespeare
Quoted for the line 'See how the moonlight sleeps upon yon bank' and for Juliet's speech on boundless love.
Key passages
“The natural in visible objects is whatever is ordinarily presented to the senses: the picturesque is that which stands out and catches the attention by some striking peculiarity: the ideal is that which answers to the preconceived imagination and appetite in the mind for love and beauty.”
Hazlitt defines three categories: the natural as ordinary sensory experience, the picturesque as attention-grabbing distinctiveness, and the ideal as fulfilling the mind's desire for love and beauty.
Opening definitions that structure the entire chapter.
“Rubens was perhaps the most picturesque of painters; but he was almost the least ideal. So Rembrandt was (out of sight) the most picturesque of colourists; as Correggio was the most ideal.”
Rubens excels at picturesque qualities but lacks ideal harmony; Rembrandt is the most picturesque colorist, while Correggio achieves the ideal through blended light and shade.
Key contrast between painters to illustrate the picturesque/ideal distinction.
“A rough terrier dog, with the hair bristled and matted together, is picturesque. As we say, there is a decided character in it, a marked determination to an extreme point.”
A terrier with bristly, matted fur is picturesque because it has a strong, extreme character.
Everyday example to clarify the concept of the picturesque.
“The ideal, in a word, is the height of the pleasing, that which satisfies and accords with the inmost longing of the soul: the picturesque is merely a sharper and bolder impression of reality.”
The ideal is the ultimate in pleasure, aligning with the soul's deepest desires, while the picturesque is just a more vivid version of reality.
Succinct summary of the core distinction.
“Love is for this reason an ideal passion. We give to it our all of hope, of fear, of present enjoyment, and stake our last chance of happiness wilfully and desperately upon it.”
Love is ideal because we invest everything—hope, fear, joy—and risk our ultimate happiness on it.
Extension of the ideal concept to human emotion, citing Shakespeare's Juliet.
