It would be easy to accumulate examples from other Artists who differ in the economy of line not only from these but from each other; as Raffaelle, Michael Angelo, Correggio, Titian, Poussin,--in a word, every painter deserving the name of master: for lines here may be called the tracks of thought, in which we follow the author's mind through his imaginary creations. They hold, indeed, the same relation to Painting that versification does to Poetry, an element of style; for what is meant by a line in Painting is analogous to that which in the sister art distinguishes the abrupt gait of Crabbe from the sauntering walk of Cowley, and the "long, majestic march" of Dryden from the surging sweep of Milton. Of Continuity little needs be said, since its uses are implied in the explanation of Line; indeed, all that can be added will be expressed in its essential relation to a _whole_, in which alone it differs from a mere line. For, though a line (as just explained) supposes a continuous course, yet a line, _per se_, does not necessarily imply any relation to other lines. It will still be a line, though standing alone; but the principle of continuity may be called the unifying spirit of every line. It is therefore that we have distinguished it as a separate principle. In fact, if we judge from feeling, the only true test, it is no paradox to say that the excess of variety must inevitably end in monotony; for, as soon as the sense of fatigue begins, every new variety but adds to the pain, till the succeeding impressions are at last resolved into continuous pain. But, supposing a limit to variety, where the mind may be pleasurably excited, the very sense of pleasure, when it reaches the extreme point, will create the desire of renewing it, and naturally carry it back to the point of starting; thus superinducing, with the renewed enjoyment, the fulness of pleasure, in the sense of a whole. It is by this summing up, as it were, of the memory, through recurrence, not that we perceive,--which is instantaneous,--but that we enjoy any thing as a whole. If we have not observed it in others, some of us, perhaps, may remember it in ourselves, when we have stood before some fine picture, though with a sense of pleasure, yet for many minutes in a manner abstracted,--silently passing through all its harmonious transitions without the movement of a muscle, and hardly conscious of action, till we have suddenly found ourselves returning on our steps. Then it was,--as if we had no eyes till then,--that the magic Whole poured in upon us, and vouched for its truth in an outbreak of rapture.