The same observation is applicable in some measure to works of art. In a small building the slightest irregularity is disagreeable. In a magnificent palace or a large Gothic church, irregularities are less regarded. In an epic poem we pardon many negligences, which would be intolerable in a sonnet or epigram. Notwithstanding such exceptions, it may be justly laid down for a rule, That in all works of art, order and regularity ought to be governing principles. And hence the observation of Longinus[66], “In works of art we have regard to exact proportion; in those of nature, to grandeur and magnificence.” I shall add but one other observation, That no means can be more successfully employed to sink and depress the mind than grandeur or sublimity. By the artful introduction of an humbling object, the fall is great in proportion to the former elevation. Of this doctrine Shakespear affords us a beautiful illustration, in a passage part of which is cited above for another purpose: The cloud-capt tow’rs, the gorgeous palaces, The solemn temples, the great globe itself, Yea all which it inherit, shall dissolve, And like the baseless fabric of a vision Leave not a rack behind---- _Tempest, act 4. sc. 4._ The elevation of the mind in the former part of this beautiful passage, makes the fall great in proportion when the most humbling of all images is introduced, that of an utter dissolution of the earth and its inhabitants. A sentiment makes not the same impression in a cool state, that it does when the mind is warmed; and a depressing or melancholy sentiment makes the strongest impression, when it brings down the mind from its highest state of elevation or chearfulness.