may, perhaps, see such creations; a creation for every element, and elements infinite. But the architecture of animals _here_, is appointed by God to be a marble architecture, not a flint nor adamant architecture; and all manner of expedients are adopted to attain the utmost degree of strength and size possible under that great limitation. The jaw of the ichthyosaurus is pieced and riveted, the leg of the megatherium is a foot thick, and the head of the myodon has a double skull; we, in our wisdom, should, doubtless, have given the lizard a steel jaw, and the myodon a cast-iron headpiece, and forgotten the great principle to which all creation bears witness, that order and system are nobler things than power. But God shows us in Himself, strange as it may seem, not only authoritative perfection, but even the perfection of Obedience--an obedience to His own laws: and in the cumbrous movement of those unwieldiest of His creatures we are reminded, even in His divine essence, of that attribute of uprightness in the human creature "that sweareth to his own hurt and changeth not." XIV. 2d. Surface Deceits. These may be generally defined as the inducing the supposition of some form or material which does not actually exist; as commonly in the painting of wood to represent marble, or in the painting of ornaments in deceptive relief, &c. But we must be careful to observe, that the evil of them consists always in definitely attempted _deception_, and that it is a matter of some nicety to mark the point where deception begins or ends. Thus, for instance, the roof of Milan Cathedral is seemingly covered with elaborate fan tracery, forcibly enough painted to enable it, in its dark and removed position, to deceive a careless observer. This is, of course, gross degradation; it destroys much of the dignity even of the rest of the building, and is in the very strongest terms to be reprehended. The roof of the Sistine Chapel has much architectural design in grissaille mingled with the figures of its frescoes; and the effect is increase of dignity. In what lies the distinctive character? In two points, principally:--First. That the architecture is so closely associated with the figures, and has so grand fellowship with them in its forms and cast shadows, that both are at once felt to be of a piece; and as the figures must necessarily be painted, the architecture is known to be so too. There is thus no deception. Second. That so great a painter as Michael Angelo would always stop short in such minor parts of his design, of the degree of vulgar force which would be necessary to induce the supposition of their reality; and, strangely as it may sound, would never paint badly enough to deceive.