Even when a man of high culture and refined taste for beauty stands before the canvas or sculpture of some great ancient or modern artist, his spiritual and aesthetic enjoyment of these wonderful works is, as he will find from the observation of his inmost emotions, combined with the animation and personification of what he sees; he is so far carried away by the beauty and truth of the representation that the passions represented affect him as if they were those of real persons. This relative perfection of a work of art, either in the way the objects stand out, in the varied diffusion of light and shade, in the movement and expression of figures, in the effect of the whole in its details and background, is all heightened and confirmed by the underlying entification of images. The process we have before described by which a confused group of objects appear to us as a human form or phantasm is also effected in this case in a more subtle way and with less effort of memory; it is all ultimately due to the primitive fact of animal perception. Our imagination can supply the resemblance, the limbs, colour, and design in a picture in which a face, figure, or landscape are slightly sketched, or in a roughly chiselled statue. We often hear the complaint that a work of art is too highly finished, and it wearies and displeases us because it leaves nothing for the imagination to supply. The remark reveals the fact, of which we are all implicitly conscious, that we are ourselves in part the artificers of every external phenomenon.