Farther illustrations of the value of unity I shall reserve for our detailed examination, as the bringing them forward here would interfere with the general idea of the subject-matter of the theoretic faculty which I wish succinctly to convey. FOOTNOTES [14] Compare Chap. ix. Sec. 5, note. [15] Spenser's various forest is the Forest of Error. [16] It must be matter of no small wonderment to practical men to observe how grossly the nature and connection of unity and variety have been misunderstood and misstated, by those writers upon taste, who have been guided by no experience of art; most singularly perhaps by Mr. Alison, who, confounding unity with uniformity, and leading his readers through thirty pages of discussion respecting uniformity and variety, the intelligibility of which is not by any means increased by his supposing uniformity to be capable of existence in single things; at last substitutes for these two terms, sufficiently contradictory already, those of similarity and dissimilarity, the reconciliation of which opposites in one thing we must, I believe, leave Mr. Alison to accomplish. [17] [Greek: Kai to tauta prattein pollakis hedy;--to gar synethes hedy en; kai to metaballein hedy; eis physin gar gignetai metaballein.]--Arist. Rhet. I. II. 20. [18] Fra Angelico's fresco, in a cell of the upper cloister. He treated the subject frequently. Another characteristic example occurs in the Vita di Christo of the Academy, a series now unfortunately destroyed by the picture cleaners. Simon Memmi in Santa Maria Novella (Chapelle des Espagnols) has given another very beautiful instance. In Giotto the principle is universal, though his multitudes are somewhat more dramatically and powerfully varied in gesture than Angelico's. In Mino da Fiesole's altar-piece in the church of St. Ambrogiot at Florence, close by Cosimo Rosselli's fresco, there is a beautiful example in marble. [19] The Predella of the picture behind the altar.