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To return to The Mysteries of Udolpho, the author, pursuing her own favorite bent of composition, and again waving her wand over the world of wonder and imagination, had judiciously used a spell of broader and more potent command. The situation and distresses of the heroines, have here, and in The Romance of the Forest, a general aspect of similarity. Both are divided from the object of their attachment by the gloomy influence of unfaithful and oppressive guardians, and both become inhabitants of time-stricken towers, and witnesses of scenes now bordering on the supernatural, and now upon the horrible. But this general resemblance is only such as we love to recognize in pictures which have been painted by the same hand, and as companions for each other. Everything in The Mysteries of Udolpho is on a larger and more sublime scale, than in The Romance of the Forest; the interest is of a more agitating and tremendous nature; the scenery of a wilder and more terrific description; the characters distinguished by fiercer and more gigantic features. Montoni, a desperado, and Captain of Condottieri, stands beside La Motte and his Marquis like one of Milton's fiends beside a witch's familiar. Adeline is confined within a ruined manor-house, but her sister heroine, Emily, is imprisoned in a huge castle, like those of feudal times; the one is attacked and defended by bands of armed mercenary soldiers, the other only threatened by a visit from constables and thief takers. The scale of the landscape is equally different; the quiet and limited woodland scenery of the one work forming a contrast with the splendid and high wrought descriptions of Italian mountain-grandeur, which occurs in the other.