at all presented to the senses of any men but by words, as God, angels, devils, heaven, and hell, all of which have however a great influence over the passions. Thirdly, by words we have it in our power to make such _combinations_ as we cannot possibly do otherwise. By this power of combining we are able, by the addition of well-chosen circumstances, to give a new life and force to the simple object. In painting we may represent any fine figure we please; but we never can give it those enlivening touches which it may receive from words. To represent an angel in a picture, you can only draw a beautiful young man winged: but what painting can furnish out anything so grand as the addition of one word, "the angel of the _Lord_"? It is true, I have here no clear idea; but these words affect the mind more than the sensible image did; which is all I contend for. A picture of Priam dragged to the altar's foot, and there murdered, if it were well executed, would undoubtedly be very moving; but there are very aggravating circumstances, which it could never represent: Sanguine foedantem _quos ipse sacraverat_ ignes. As a further instance, let us consider those lines of Milton, where he describes the travels of the fallen angels through their dismal habitation: "O'er many a dark and dreary vale They passed, and many a region dolorous; O'er many a frozen, many a fiery Alp; Rocks, caves, lakes, fens, bogs, dens, and shades of death, A universe of death." Here is displayed the force of union in "Rocks, caves, lakes, dens, bogs, fens, and shades" which yet would lose the greatest part of their effect, if they were not the "Rocks, caves, lakes, dens, bogs, fens, and shades--of _Death_."