 Addison’s chief interest in secondary pleasures owes to their comprising the pleasures of artistic representation: representational artworks, he maintains, function centrally to call up mental images of objects that are great, novel, or beautiful. So Homer excels in the representation of great things, Virgil in the representation of beautiful things, Ovid in the representation of novel things, and Milton in the representation of all three (Addison and Steele 1879, no. 417). But Addison acknowledges that this account of the pleasures of artistic representation is so far incomplete; indeed he devotes a good portion the latter part of the essay to its supplementation.