Warwick. From off the gates of York fetch down

..the head,

Your father's head, which Clifford placed there. Instead whereof let his fupply the room. Measure for measure must be answered.

Third Part of Henry VI. at 2. fc. 9.

Perfons in their last moments are generally feized with an anxiety to be buried with their relations. In the Amynta of Taffo, the lover, hearing that his mistress was torn to pieces by a wolf, expreffes a defire to die the fame death *.

Upon the fubject in general, I have two remarks to add. The firft concerns refemblance, which when too entire hath no effect, however different in kind the things compared may be. This remark is applicable to works of art only; for natural objects of different kinds, have scarce ever an entire refemblance. Marble is a fort of matter, very different from what compofes an 'animal; and marble cut into a human figure, produces great pleafure by the refemblance. But let a marble ftatue be coloured like a

* Act 4. fc. 2.

picture,

picture, the resemblance is fo entire as to produce no effect. At a distance, it appears a real person. We discover the mistake when we approach; and no other emotion is raised but furprise occafioned by the deception. The idea of resemblance is funk into that of identity. The figure ftill appears to our eyes rather to be a real person than a resemblance of it; and we must make use of our reflection' to correct the mistake. This cannot happen in a picture; for the resemblance can never be fo entire as to disguise the imitation.

The other remark regards contrast. Emotions make the greateft figure when contrafted in fucceffion. But then the fucceffion ought neither to be precipitate nor immoderately flow. If too flow, the effect of contrast becomes faint by the distance of the emotions; and if precipitate, no fingle emotion has room to expand itself to its full fize; but is ftifled as it were in the birth by a fucceeding emotion. The funeral oration of the Bishop of Meaux upon the Duchefs of Orleans, is a perfect hotchpotch of chearful and melancholy reprefentations

following

following each other in the quickest fucceffion. Oppofite emotions are best felt in fucceffion but each emotion separately fhould be raised to its due pitch, before another be introduced.

What is above laid down, will enable us to determine a very important question concerning emotions raised by the fine arts, viz. What ought to be the rule of fucceffion; whether ought resemblance to be studied or contrast? The emotions raised by the fine arts, are generally too nearly related to make a figure by resemblance; and for that reason, their fucceffion ought to be regulated as much as poffible by contraft. This holds confeffedly in epic and dramatic compofitions: and the best writers, led perhaps by a good taste more than by reasoning, have generally aimed at this beauty. In the fame cantata, all the variety of emotions that are within the power of mufic, may not only be indulged, but, to make the greateft figure, ought to be contrafted. In gardening there is an additional reafon for the rule. The emotions raised by that art, are at beft fo faint, that,

every artifice should be used to give them their utmost strength. A field may be laid out in grand, sweet, gay, neat, wild, melancholy fcenes. When these are viewed in fucceffion, grandeur ought to be contrasted with neatness, regularity with wildnefs, and gaiety with melancholy; fo as that each emotion may fucceed its oppofite. Nay it is an improvement to intermix in the fucceffion, rude uncultivated spots as well as unbounded views, which in themfelves are difagreeable, but in fucceffion heighten the feeling of the agreeable objects. And we have nature for our guide, who in her most beautiful landscapes often intermixes rugged rocks, dirty marshes, and barren ftony heaths. The greatest masters of mufic, have the fame view in their compofitions: the fecond part of an Italian fong seldom conveys any fentiment; and, by its harshness, feems purposely contrived to give a greater relish for the interefting parts of the composition.

A fmall garden comprehended under a fingle view, affords little opportunity for this embellishment. Diffimilar emotions require

require different tones of mind; and therefore in conjunction can never make a good figure*. Gaiety and fweetness may be combined, or wildness and gloominess ; but a compofition of gaiety and gloominess is diftafteful. The rude uncultivated copartment of furze and broom in Richmond garden, hath a good effect in the fucceffion of objects; but a fpot of this nature would be infufferable in the midst of a polished parterre or flower-plot. A garden therefore, if not of great extent, will not admit of diffimilar emotions. And in ornamenting a small garden, the fafeft courfe is to confine it to a fingle expreffion. For the fame reason, a landscape ought alfo to be confined to a fingle expreffion. It is accordingly à rule in painting, That if the fubject be gay, every figure ought to contribute to that e

motion.

It follows from the foregoing train of reafoning, that a garden near a great city, ought to have an air of folitude. The folitariness again of a waste country ought to

See chap. 2. part 4.

be