_Painting_, as the second kind of formative art, which presents a _sensible illusion_ artificially combined with Ideas, I would divide into the art of the beautiful _depicting of nature_ and that of the beautiful _arrangement of its products_. The first is _painting proper_, the second is the art of _landscape gardening_. The first gives only the illusory appearance of corporeal extension; the second gives this in accordance with truth, but only the appearance of utility and availableness for other purposes than the mere play of the Imagination in the contemplation of its forms.[91] This latter is nothing else than the ornamentation of the soil with a variety of those things (grasses, flowers, shrubs, trees, even ponds, hillocks, and dells) which nature presents to an observer, only arranged differently and in conformity with certain Ideas. But, again, the beautiful arrangement of corporeal things is only apparent to the eye, like painting; the sense of touch cannot supply any intuitive presentation of such a form. Under painting in the wide sense I would reckon the decoration of rooms by the aid of tapestry, bric-a-brac, and all beautiful furniture which is merely available to be _looked_ at; and the same may be said of the art of tasteful dressing (with rings, snuff-boxes, etc.). For a bed of various flowers, a room filled with various ornaments (including under this head even ladies’ finery), make at a fête a kind of picture; which, like pictures properly so-called (that are not intended to _teach_ either history or natural science), has in view merely the entertainment of the Imagination in free play with Ideas, and the occupation of the aesthetical Judgement without any definite purpose. The detailed work in all this decoration may be quite distinct in the different cases and may require very different artists; but the judgement of taste upon whatever is beautiful in these various arts is always determined in the same way: viz. it only judges the forms (without any reference to a purpose) as they present themselves to the eye either singly or in combination, according to the effect they produce upon the Imagination.--But that formative art may be compared (by analogy) with deportment in speech is justified by the fact that the spirit of the artist supplies by these figures a bodily expression to his thought and its mode, and makes the thing itself as it were speak in mimic language. This is a very common play of our fancy, which attributes to lifeless things a spirit suitable to their form by which they speak to us.