The subject for two bars continues on the same 

 note without any change of interval, and the sim- 

 plicity and uniformity of the notes, may be compar- 

 ed to that of the straight line in visible objects. The 

 ear and the eye, by habit, equally judge of what is 

 intended to have a correspondent part, even before 

 that part is heard, or seen ; and feel a sensible 

 pleasure when it is perceived, and a proportiona- 

 ble disappointment when it is wanting. Here then 

 the ear expects another set of voices to take up 

 the strain it is become acquainted with, which ac- 

 cordingly is done ; but then the counter-tenors 

 •who 'opened the fugue, instead of pursuing some- 

 thing of the same uniform character as was usual 

 in the more ancient fugues and cannons, join with 

 the trebles, and break out into a light and brilliant 

 melody (though still in fugue) ou the words " with 

 timbrell'd anthems," while the tenors continue the 

 plain chant of the opening ; which again, when they 

 have finished it, the basses take up. The sur- 

 prize and delight at the fulness of the harmony 

 when all the instruments join with this third part, is 

 enhanced by the recollection of the simple uni- 

 form beginning, and also by the general symme- 

 try ; that is, by the continued expectation of a 

 correspondent part, the strain of which we know, 

 but are ignorant of the rich, powerful, and com- 

 manding effect of the whole union : then the light, 

 and brilliant strain, "with timbrell'd anthems" 

 joined to the varied touches of the instrumental 

 parts, has the same kind of effect on the ear, as 



