§ 1. I have already, in the Stones of Venice, had occasion to analyze, as far as I was able, the noble nature and power of grotesque conception: I am not sorry occasionally to refer the reader to that work, the fact being that it and this are parts of one whole, divided merely as I had occasion to follow out one or other of its branches; for I have always considered architecture as an essential part of landscape; and I think the study of its best styles and real meaning one of the necessary functions of the landscape painter; as, in like manner, the architect cannot be a master-workman until all his designs are guided by understanding of the wilder beauty of pure nature. But, be this as it may, the discussion of the grotesque element belonged most properly to the essay on architecture, in which that element must always find its fullest development.

§ 2. The Grotesque is in that chapter divided principally into three kinds:

(A.) Art arising from healthful but irrational play of the imagination in times of rest.

(B.) Art arising from irregular and accidental contemplation of terrible things; or evil in general.

(C.) Art arising from the confusion of the imagination by the presence of truths which it cannot wholly grasp.