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receive its proper punishment。
Most painters appear in this light to have been very unhappy
in their subjects。 As they wrought much for churches and
convents； they have chiefly represented such horrible subjects as
crucifixions and martyrdoms； where nothing appears but tortures；
wounds； executions； and passive suffering； without any action or
affection。 When they turned their pencil from this ghastly
mythology； they had commonly recourse to Ovid； whose fictions；
though passionate and agreeable； are scarcely natural or probable
enough for painting。
The same inversion of that principle； which is here insisted
on； displays itself in common life； as in the effects of oratory
and poetry。 Raise so the subordinate passion that it becomes the
predominant； it swallows up that affection which it before
nourished and encreased。 Too much jealousy extinguishes love： Too
much difficulty renders us indifferent： Too much sickness and
infirmity disgusts a selfish and unkind parent。
What so disagreeable as the dismal； gloomy； disastrous
stories； with which melancholy people entertain their companions？
The uneasy passion being there raised alone； unaccompanied with
any spirit； genius； or eloquence； conveys a pure uneasiness； and
is attended with nothing that can soften it into pleasure or
satisfaction。