Page:Language of the Eye.djvu/22

8 ., Nature; and, that at last, he discovered the expression of life, or rather its imitation, demanded that disposition of colours and shades which appear distinctly varied, but are yet meltingly united. But mighty Nature passes all rules of art, and presents lights and colours which defy imitation. How often has the sculptor sighed, when he has attempted to represent the organ of sight; he has hung over his excellent work, and sorrow has beclouded his intelligent face, whilst remarking the immeasurable distance between nature and the highest work of art. The life of the eye, and that veil of light in which all nature moves, cannot be imitated, nor its absence compensated. The loveliest country fails to charm until light and shade play over its bosom. The most perfect fair one of the daughters of Eve would be even an ungraceful object without the complexion which light and shade supply; indeed, if the skin of the darkest negro was entirely removed, he would not be less gracious to the eye than the finest form subjected to the same operation. We know one of the purest sources of beauty may be traced to the godliness of light and its ancillaries—shade and colour. Even slightly serated or rough parts on the face will intercept the effect of light and shade, thereby evincing how subtle and delicate is the influence. This reminds us of Mr. Dryden's epistle to Sir Godfrey Kneller, wherein he describes the light and shades of the human countenance; and, at the end of his incomparable letter, or essay on light, he says:—

When the mind is tranquil, and all the sweet sensibilities of our nature are awakened, we acknowledge the glory and indispensability of light: then we are followed by an