made between the size of the thing represented, and the scale of the representation. The canvas on which Fuseli has stretched his Satan in the schools of the Royal Academy is a mere concession to inability. He might have made him look more gigantic in one of a foot square. Sec. 20. Secondly. Of things capable of variety of scale. Another kind of exaggeration is of things whose size is variable to a size or degree greater than that usual with them, as in waves and mountains; and there are hardly any limits to this exaggeration so long as the laws which nature observes in her increase be observed. Thus, for instance: the form and polished surface of a breaking ripple three inches high, are not representation of either the form or the surface of the surf of a storm, nodding ten feet above the beach; neither would the cutting ripple of a breeze upon a lake if simply exaggerated, represent the forms of Atlantic surges; but as nature increases her bulk, she diminishes the angles of ascent, and increases her divisions; and if we would represent surges of size greater than ever existed, which it is lawful to do, we must carry out these operations to still greater extent. Thus, Turner, in his picture of the Slave Ship, divides the whole sea into two masses of enormous swell, and conceals the horizon by a gradual slope of only two or three degrees. This is intellectual exaggeration. In the Academy exhibition of 1843, there was, in one of the smaller rooms, a black picture of a storm, in which there appeared on the near sea, just about to be overwhelmed by an enormous breaker, curling right over it, an object at first sight liable to be taken for a walnut shell, but which, on close examination, proved to be a ship with mast and sail, with Christ and his twelve disciples in it. This is childish exaggeration, because it is impossible, by the laws of matter and motion, that such a breaker should ever exist. Again in mountains, we have repeatedly observed the necessary building up and multitudinous division of the higher peaks, and the smallness of the slopes by which they usually rise. We may, therefore, build up the mountain as high as we please, but we must do it in nature's way, and not in impossible peaks and precipices; not but that a daring feature is admissible here and there, as the Matterhorn is admitted by nature; but we must not compose a picture out of such exceptions; we may use them, but they must be as exceptions exhibited. I shall have much to say, when we come to treat of the sublime, of the various modes of treating mountain form, so that at present I shall only point to an unfortunate instance of inexcusable and effectless exaggeration in the distance of Turner's vignette to Milton, (the temptation on the mountain,) and desire the reader to compare it with legitimate exaggeration, in the vignette to the second part of Jacqueline, in Rogers's poems.