One who possesses vivacity, wit, good nature, or other pleasing qualities may be attractive without beauty. The word applies wholly to what is superficial we can say " fair, yet false." In a specific sense, fair has the sense of blond, as opposed to dark or brunette. Fair denotes what is bright, smooth, clear, and without blemish as, a fair face. Handsome is a term far inferior to beautiful we may even say a handsome villain. That is handsome which is not only superficially pleasing, but well and harmoniously proportioned, with usually the added idea that it is made so by art, breeding, or training as, a handsome horse a handsome house. Pretty expresses in a far less degree that which is pleasing to a refined taste in objects comparatively small, slight, and dainty as, a pretty bonnet a pretty girl. Beautiful has the further limit of not transcending our powers of appreciation. But beautiful implies also, in concrete objects, softness of outline and delicacy of mold it is opposed to all that is hard and rugged, hence we say a beautiful woman, but not a beautiful man. Thus, we speak of a beautiful landscape, a beautiful poem. There must also be harmony and unity, and in human beings spiritual loveliness, to constitute an object or a person really beautiful. Romanticism has some of its roots in the Picturesque.The definition of beauty, "perfection of form," is a good key to the meaning of beautiful, if we understand "form" in its widest sense. The Picturesque Tour in search of suitable subjects was a feature of English landscape painting of the period, exemplified, for example, in the work of Girtin and (early in his career) of Turner, and the Picturesque generated a large literary output much of it was pedantic and obsessive and it became a popular subject for satire. Natural scenery tended to be judged in terms of how closely it approximated to the paintings of favoured artists such as Gaspard Dughet, and in 1801 George Mason's Supplement to Samuel Johnson's English Dictionary defined Picturesque as: ‘what pleases the eye remarkable for singularity striking the imagination with the force of painting to be expressed in painting affording a good subject for a landscape proper to take a landscape from’.
PICTURESQUE SYNONYM FULL
Picturesque scenes were thus neither serene (like the Beautiful) nor awe-inspiring (like the Sublime), but full of variety, curious details, and interesting textures-medieval ruins were quintessentially Picturesque. Devotees of the Picturesque found pleasure in roughness and irregularity, and they tried to establish it as a critical category between the ‘Beautiful’ and the ‘Sublime’.
Term covering a set of aesthetic ideas about landscape, both real and painted, that flourished in Britain in the late 18th and early 19th centuries.
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