From this detail it obviously follows, that as our ideas of imaginary personages are more just and accurate, than those which are excited merely by a particular relation of the actions of real ones; so we will judge with more certainty of the precise colouring which belongs to the former, and of the propriety with which they are introduced, than we can possibly do with regard to the latter. A Painter may deceive us, by throwing into the face of an Heroe, whom we have never seen, particular marks of resolution and fortitude, which form only a part of his character. But we cannot be deceived with regard to the signatures which show the predominancy of these virtues, with whatever degree of justice they may be applied. This observation has equal force, when we refer it to the allegorical personages of the Poet. The least impropriety in the colouring, dress, or arrangement of objects, is immediately perceptible, and we pass a favourable judgment, when faults of this kind are ascribed to inattention. In short, the imaginary persons who are introduced in a poem, must on all occasions be distinguished by peculiar characters, and the manners attributed to each of them ought to be such as can be applied with no propriety to any other object. Every picture must therefore be, as Pope somewhere has it, Something whose truth convinc’d at sight we find. That gives us back the image of the mind. A little reflection will enable us to discover the reason of this difference betwixt our ideas of allegorical and of real personages. We are (as I formerly observed) often mistaken in our notions of the latter of these, because the mind cannot receive a sufficient degree of information, concerning the person, to be able to form any perfect judgment of his address or demeanour. Upon hearing, for instance, a recital of the actions of a man who is unknown to us, our idea of him is taken from the passion which appears to have predominated in his conduct; but we are not acquainted with numberless little peculiarities which enter into a complicated character, and have their corresponding expressions imprinted on the countenance. Thus when we consider only the martial exploits of the celebrated Duke de Vendome, we have the idea of an Heroe full of spirit and impetuosity; but this idea would be very imperfect as a representation of his character, if we did not know likewise that he was slovenly, voluptuous, effeminate, and profuse[81]. [Footnote 81: Volt. Siec. Louis XIV. c. 21.]