Some images of the sublime;

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I would argue that the aesthetic of the sublime is closely related to our senses of the infinite, linearity and the colour of light.
This is a view shared, in part, by Edmund Burke, who's "Philosophical Enquiry into the Origin of Our Ideas of the
Sublime and the Beautiful", is an important analysis of the concept of the sublime;

"Another source of the sublime is Infinity...", Section IX, Infinity.

"but as, in this discourse, we chiefly attach ourselves to the sublime as it affects the eye, we shall consider particularly why
a successive disposition of uniform parts in the same right line should be sublime,...", Section XIII, The Effect of Succession
in Visual Objects Explained.

The above images appeal to our idea of the infinite, in the manifestation of the vastness of nature and water, and to our sense
of linearity, in the straight contours formed by waves, clouds, the horizon, the coastline, and the light of the sun striking the sea.
Although not particularly dark, the images have been slightly tinted and polarised, in order to counteract the warming effect of
direct sunlight, similar to the effect of sunglasses. This, perhaps, relates our notion of the sublime to what is "cool". Another
important commentator on aesthetics, George Ruskin, in "The Seven Lamps of Architecture", denied the existence of
concatenations of lines in nature, attributing mass and weight as the main sources of the sublime. However, although Ruskin's
naturalism is an excellent aesthetic critia, I would argue that he discounts the importance of "ocean views".

Coleridge uses images of the sublime in "The Rime of the Ancient Mariner", referring to the albatross;

In mist or cloud, on mast or shroud,
It perched for vespers nine;
Whiles all the night, through fog-smoke white,
Glimmered the white Moon-shine.'

The wedding guest cannot understand the unhappiness of the mariner, who shoots the albatross, after which catastrophe
 befalls the rest of the sailors.

'God save thee, ancient Mariner!
From the fiends, that plague thee thus!—
Why look'st thou so?'—With my cross-bow
I shot the ALBATROSS.

The image of the albatross and the cross-bow is an allusion to the death of Christ, but he emphasises the sublime and spiritual
aspect in the poem, and the relationship with water. In his book "Shelley and the Sublime", Leighton argues that "Coleridge's
attitude to the sublime tends to be allied to an attitude of religious faith...He defines the sublime in nature very much as an index
of faith, faith in something one and indivisible.", quoting Coleridge's Letters, "No  object of sense is sublime in itself, but only so
far as I can make it a symbol of the idea. The circle is a beautiful figure in itself, it becomes sublime, when I contemplate eternity
under that figure. The Beautiful is the perfection, the Sublime the suspension, of the comparing power,...nothing that has a shape
can be sublime except by metaphor". I agree with Coleridge's two ideas that eternity or infinity, and the sense of reconciliation
with infinity, are parts of the notion of the sublime. The use of geometry to emphasise part of his view, occurs again in the
following quote;

And straight the Sun was flecked with bars,
(Heaven's Mother send us grace!)
As if through a dungeon-grate he peered
With broad and burning face.

where the figure of the circle is concatenated with lines. You can find more about the aesthetics of the sublime and its relation with
geometry and linearity in my book available here. Linearity seems to be connected with an aesthetic idea of symmetry, as the
intelligence required to define it, involves the idea of reflections and rotations, only lines being preserved under both transformations.