rpose, it is sufficient to observe, that,
where the attention is at the same time claimed by two objects, having
each a different end, they must of necessity break in upon that free
state required of the mind in order to receive a full impression from
either. It is needless to add, that such conflicting claims cannot,
under any circumstances, be rendered agreeable. And yet this most
obvious requirement of the mind has sometimes been violated by great
Artists,--though not of authority in this particular, as we shall
endeavour to show in another place.

We proceed, meanwhile, to the second principle, namely, Variety; by
which is to be understood _difference_, yet with _relation_
to a _common end_.

Of a ruling Principle, or Law, we can only get a notion by observing the
effects of certain things in relation to the mind; the uniformity of
which leads us to infer something which is unchangeable and permanent.
It is in this way that, either directly or indirectly, we learn the
existence of certain laws that invariably control us. Thus, indirectly,
from our disgust at monotony, we infer the necessity of variety. But
variety, when carried to excess, results in weariness. Some limitation,
therefore, seems no less needed. It is, however, obvious, that all
attempts to fix the limit to Variety, that shall apply as a universal
rule, must be nugatory, inasmuch as the _degree_ must depend on the
_kind_, and the kind on the subject treated. For instance, if the
subject be of a gay and light character, and the emotions intended to be
excited of a similar nature, the variety may be carried to a far greater
extent than in one of a graver character. In the celebrated Marriage at
Cana, by Paul Veronese, we see it carried, perhaps, to its utmost
limits; and to such an extent, that an hour's travel will hardly conduct
us through all its parts; yet we feel no weariness throughout this
journey, nay, we are quite unconscious of the time it has taken. It is
no disparagement of this remarkable picture, if we consider the subject,
not according to the title it bears, but as what the Artist has actually
made it,--that is, as a Venetian entertainment; and also the effect
intended, which was to delight by the exhibition of a gorgeous
_pageant_. And in this he has succeeded to a degree unexampled; for
literally the eye may be said to _dance_ through the picture, scarcely
lighting on one part before it is drawn to another, and another, and
another, a