A perplexing consequence of fixing our eyes on an ideal is that it may make us sad. The more beautiful something is, the sadder we risk feeling, so that standing in front of a painting by Pieter de Hooch of a grave-faced little boy diligently bringing his mother some loaves of bread, or of John Wood the Younger’s Royal Crescent in Bath, we may find ourselves not so far from tears. Our sadness won’t be of the searing kind but more like a blend of joy and melancholy: joy at the perfection we see before us, melancholy at an awareness of how seldom we are sufficiently blessed to encounter anything
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