of the piece and the half formed idea of the painter are carefully studied; and our very grief for that curious hand, which had been stoped by death, is an additional encrease to our pleasure[1].
These instances (and many more might be collected) are sufficient to afford us some insight into the analogy of nature, and to show us, that the pleasure, which poets, orators, and musicians give us, by exciting grief, sorrow, indignation, compassion, is not so extraordinary nor paradoxical, as it may at first sight appear. The force of imagination, the energy of expression, the power of numbers, the charms of imitation; all these are naturally, of themselves, delightful to the mind; and when the object presented lays also hold of some affection, the pleasure still rises upon us, by the conversion of this subordinate movement, into that which is predominant. The passion, tho', perhaps, naturally, and when excited by the simple appear-
- ↑ Illud vero perquam rarum ac memoria dignum, etiam suprema opera artificum, imperfectasque tabulas, sicut, Irin Aristidis, Tyndaridas Nicomachi, Medeam Timomachi, & quam diximus Venerem Apellis, in majori admiratione esse quam perfecta. Quippe in iis lineamenta reliqua, ipsæque cogitationes artificum spectantur, atque in lenocinio commendationis dolor est manus, cum id ageret, extinctæ. Lib. xxxv. c.. ii.
ance
