[2] These etchings of compositions are all reversed, for they are merely sketches on the steel, and I cannot sketch easily except straight from the drawing, and without reversing. The looking-glass plagues me with cross lights. As examples of composition, it does not the least matter which way they are turned; and the reader may see this Schaffhausen subject from the right side of the Rhine, by holding the book before a glass. The rude indications of the figures in the Loire subject are nearly facsimiles of Turner's. [3] With the exception of the jagged ledge rising out of the foam below which comes from the north side, and is admirable in its expression of the position of the limestone-beds, which, rising from below the drift gravel of Constance, are the real cause of the fall of Schaffhausen. [4] "Individual," that is to say, distinct and separate in character, though joined in purpose. I might have enlarged on this head, but that all I should care to say has been already said admirably by Mr. J. S. Mill in his essay on _Liberty_. CHAPTER III. THE RULE OF THE GREATEST. § 1. In the entire range of art principles, none perhaps present a difficulty so great to the student, or require from the teacher expression so cautious, and yet so strong, as those which concern the nature and influence of magnitude. In one sense, and that deep, there is no such thing as magnitude. The least thing is as the greatest, and one day as a thousand years, in the eyes of the Maker of great and small things. In another sense, and that close to us and necessary, there exist both magnitude and value. Though not a sparrow falls to the ground unnoted, there are yet creatures who are of more value than many; and the same Spirit which weighs the dust of the earth in a balance, counts the isles as a little thing. § 2. The just temper of human mind in this matter may, nevertheless, be told shortly. Greatness can only be rightly estimated when minuteness is justly reverenced. Greatness is the aggregation of minuteness; nor can its sublimity be felt truthfully by any mind unaccustomed to the affectionate watching of what is least. But if this affection for the least be unaccompanied by the powers of comparison and reflection; if it be intemperate in its thirst, restless in curiosity, and incapable of the patient and self-commandant pause which is wise to arrange, and submissive to refuse, it will close the paths of noble art to the student as effectually, and hopelessly, as even the blindness of pride, or impatience of ambition.