Sec. 21. Thirdly, necessary in expression of characteristic features on diminished scale. Another kind of exaggeration is necessary to retain the characteristic impressions of nature on reduced scale, it is not possible, for instance, to give the leafage of trees in its proper proportion, when the trees represented are large, without entirely losing their grace of form and curvature; of this the best proof is found in the Calotype or Daguerreotype, which fail in foliage, not only because the green rays are ineffective, but because, on the small scale of the image, the reduced leaves lose their organization, and look like moss attached to sticks. In order to retain, therefore, the character of flexibility and beauty of foliage, the painter is often compelled to increase the proportionate size of the leaves, and to arrange them in generic masses. Of this treatment compare the grand examples throughout the Liber Studiorum. It is by such means only that the ideal character of objects is to be preserved; as we before observed in the 13th chapter of the first section. In all these cases exaggeration is only lawful as the sole means of arriving at truth of impression when strict fidelity is out of the question. Other modes of exaggeration there are, on which I shall not at present farther insist, the proper place for their discussion being in treating of the sublime, and these which I have at present instanced are enough to establish the point at issue, respecting imaginative verity, inasmuch as we find that exaggeration itself, if imaginative, is referred to principles of truth, and of actual being. Sec. 22. Recapitulation. We have now, I think, reviewed the various modes in which imagination contemplative may be exhibited in art, and arrived at all necessary certainties respecting the essence of the faculty: which we have found in all its three functions, associative of truth, penetrative of truth, and contemplative of truth; and having no dealings nor relations with any kind of falsity. One task, however, remains to us, namely, to observe the operation of the theoretic and imaginative faculties together, in the attempt at realization to the bodily sense of beauty supernatural and divine. FOOTNOTES