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the perfection of melody and harmony. By 

 degrees however the ear, like the eye, tires 

 of a repetition of the same flowing strain; it 

 requires some marks of invention, of ori- 

 ginal and striking character as well as of 

 sweetness, in the melodies of a composer ; 

 it takes in more and more intricate combi- 

 nations of harmony and opposition of parts, 

 not only without confusion, but with de- 

 light ; and with that delight (the only last- 

 ing one) which is produced both from the 

 effect of the whole, and the detail of the 

 parts *.. At the same time, the having ac- 

 quired a relish for such artful combinations,, 

 so far from excluding, except in narrow 



# This I take to be the reason why those who are real 

 connoisseurs in any art, can give the most unwearied atten- 

 tion to what the general lover is soon tired of. Both are 

 struck, though not in the same manner or degree, with the 

 •whole of. ^ scene ; but the painter is also eagerly employed 

 in examining the parts, and all the artifice of nature in com- 

 posing such a whole. The general lover stops at the first 

 gaze ; and, I have heard it said by those, who in other pur- 

 suits shewed the most discriminating taste, " Why should' 

 we look at these things any more — we have seen them." 



Non ragionar di lor ; ma guarda e pas«a. 

 U 4r 



