 The impact of Burke’s aesthetic dualism was immediate. Before its appearance, the sublime could be ignored: there is almost no mention of it in Shaftesbury, Hutcheson, or Hume. Afterward it could not be: indeed the major theorists of the second half of the century—Reid, Alison, and Kant—all advance substantial theories of the sublime. But toward the century’s end Burke’s dualism began to come under pressure, not from those who thought two perfections too many, but from those who thought it too few. Uvedale Price, following suggestions in the writings of William Gilpin, argued that there are objects—landscapes, paradigmatically—which please the eye, but which can be considered neither beautiful nor sublime. These objects cannot be considered sublime because they need not be grand (Price 1796, 106–107); they cannot be considered beautiful because they are not smooth, their pleasure depending on “sudden protuberance, and lines that cross each other in a sudden and broken manner” (Price 1796, 61–62). Because the play of form, color, light, and shadow afforded by such objects renders them ideal subjects for painting and drawing, Gilpin referred to them as “picturesque” (Gilpin 1794, 3–5). By the end of the century, the picturesque came to be regarded widely as occupying the position vacated by the novel, i.e., that of a third perfection of taste.