in painting, denotes the representation of objects in the same manner that they appear to the eye at different distances from it; for which the painter should have recourse to the rules of perspective. There are two instances in which the famous Raphael Urbin has transgressed these rules: in one of his cartoons, representing the miraculous draught of fishes, the men in each of the two boats appear of full size, the features of their faces being strongly marked; and the boats are represented so small, and the men so big, that any one of them appears sufficient to sink either of the boats by his own bare weight: and the fowls on the shore are also drawn so big, as to seem very near the eye of the observer, who could not possibly, in that case, distinguish the features of the men in the distant boats. Or, supposing the observer to be in either of the boats, he could not see the eyes or beaks of the fowls on the shore. The other instance occurs in his historical picture of our Saviour's transfiguration on the mount; where he is represented with those who were then with him, almost as large as the rest of his disciples at the foot of the mount, with the father and mother of the boy whom they brought to be cured; and the mother, though on her knees, is more than half as tall as the mount is high. So that the mount appears only of the size of a little hay-rick, with a few people on its top, and a greater number at its bottom on the ground; in which case, a spectator at a little distance could as well distinguish the features of those at the top as of those on the ground. But upon any large eminence, deserving the name of a mount, that would be quite impossible.