THE HARMONY OF VIRTUE

I. 1. The Harmony of Virtue37Wilson: Without doubt.Keshav: And in making the flowers so various, the divineartist did not fail to remember a dominant principle which prevailsin the structure and character of his episode in flowers.Wilson: But this is merely to take an unfair advantage ofthe method of species so largely indulged in by Nature.Keshav: Well, if you prefer particulars to generals, we willinquire into the beauty of a Greek design, for the Greeks werethe only painters who understood the value of design; and wewill as usual take an example of perfect beauty. Do you knowthe Nereid and Sea-Horse.Wilson: Very intimately.Keshav: Then, if you have not forgotten how in that incomparablework of art to every mass there is another and answeringmass and to the limbs floating forward limbs floating backwardsand to every wisp of drapery an answering wisp of drapery, andin short how the whole design is built on the satisfying principleof balancing like by like, you will admit that here is a dominantidea regulating variety. And the principle of balancing like with likeis not peculiar to Greek designing but prevalent in the designs ofNature, for example the human face, where eye answers to luminouseye and both are luminous with one and the same brilliance,nor is one hazel while the other is azure, and the porches of hearingare two but similar in their curious workmanship, and the sweepof the brow to one ear does not vary from the sweep of thebrow to the other and the divergence of the chin describes asimilar curve on either face of the design, nor is one cheek pallidwith the touch of fear while the other blushes with the flagof joy and health, but in everything the artist has rememberedthe principle of balancing like with like, both here and in theemerald leaf and swaying apple which if you tear along the fibrousspine or slice through the centre of the core, will leave inyour hands two portions, diverse in entity but alike in materialand workmanship. And yet the impertinent criticism of the modernsclaims for themselves a keener appreciation of Nature, thanthose great pupils who learned her lessons so gloriously well. Ifyou would like further examples of the dominant principle regulatingvariety in a design, you need only look at a blowing