Upon the subject in general, I have two remarks to add. The first concerns resemblance, 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 resemblance. Marble is a sort of matter, very different from what composes an animal; and marble cut into a human figure, produces great pleasure by the resemblance. But let a marble statue be coloured like a picture, the resemblance is so 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 surprise occasioned by the deception. The idea of resemblance is sunk into that of identity. The figure still 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 so entire as to disguise the imitation. The other remark regards contrast. Emotions make the greatest figure when contrasted in succession. But then the succession ought neither to be precipitate nor immoderately slow. If too slow, the effect of contrast becomes faint by the distance of the emotions; and if precipitate, no single emotion has room to expand itself to its full size; but is stifled as it were in the birth by a succeeding emotion. The funeral oration of the Bishop of Meaux upon the Duchess of Orleans, is a perfect hotchpotch of chearful and melancholy representations following each other in the quickest succession. Opposite emotions are best felt in succession: but each emotion separately should be raised to its due pitch, before another be introduced.