[Footnote: _All moral virtues_, l. 288. See the sequel of this canto l. 453 on sympathy; and l. 331 on language; and the subsequent lines on the arts of painting and architecture.] "What one fine stimulated Sense discerns, Another Sense by IMITATION learns.-- So in the graceful dance the step sublime Learns from the ear the concordance of Time. So, when the pen of some young artist prints Recumbent Nymphs in TITIAN'S living tints; The glowing limb, fair cheek, and flowing hair, Respiring bosom, and seductive air, 300 He justly copies with enamour'd sigh From Beauty's image pictured on his eye. [Footnote: _Another sense_, l. 294. As the part of the organs of touch or of sight, which is stimulated into action by a tangible or visible object, must resemble in figure at least the figure of that object, as it thus constitutes an idea; it may be said to imitate the figure of that object; and thus imitation may be esteemed coeval with the existence both of man and other animals: but this would confound perception with imitation; which latter is better defined from the actions of one sense copying those of another.] "Thus when great ANGELO in wondering Rome Fix'd the vast pillars of Saint Peter's dome, Rear'd rocks on rocks sublime, and hung on high A new Pantheon in the affrighted sky. Each massy pier, now join'd and now aloof, The figured architraves, and vaulted roof, Ailes, whose broad curves gigantic ribs sustain, Where holy echoes chant the adoring strain; 310 The central altar, sacred to the Lord, Admired by Sages, and by Saints ador'd, Whose brazen canopy ascends sublime On spiral columns unafraid of Time, Were first by Fancy in ethereal dyes Plann'd on the rolling tablets of his eyes; And his true hand with imitation fine Traced from his Retina the grand design.