THE HARMONY OF VIRTUE

424 The Harmony of Virtueshoulder has the same rigid preparedness. There is a certain defectin the unnatural pose and obese curve of the hand which isnot justified by any similar detail or motive in the rest of thefigure. We notice a similar motiveless strain in the position ofNadir's left arm, though here something is perhaps added to theforce of the attitude. A standing figure receives the sanguinarycommand. The folded hands and the scimitar suspended in frontare full of the spirit of ready obedience and there is an expressionof pleasure, almost amusement which makes even this commonplaceface terrible, for the decree dooming thousands is takenas lightly as if it were order for nautch or banquet. The threemighty swords, by a masterly effect of balanced design, fill withdeath and menace the terrace on which the men are seated. Behindthese formidable figures is a part of the palace gracious with thesimple and magical lines of Indo-Saracenic architecture and inthe distance on the right from behind a mass of heavy impenetrablegreen a slender tapering tower rises into the peaceful quietof Delhi.On another page of the same review we have a picture byone of the greatest Masters of European Art, Raphael's visionof the Knight. The picture is full of that which Greece and Italyperfected as the aim of Art, beauty and such soul-expression asheightens physical beauty. It is beauty that is expressed in therobust body and the feminine face of the armed youth both fullof an exquisite languor of sleep, in the sweet face, the voluptuousfigure, the gracious pose of the temptress offering her delicateallurement of flowers, in the other's grave, strong and benigncountenance, the vigorous physique and open gesture ofpromise and aspiration extending a book and a fine slender sword,in the delicacy of the landscape behind and the tree under whichthe dreamer lies. There is suggestion but it is the suggestion ofmore and more beauty, there is harmony and relation but it isthe harmony and relation of loveliness of landscape as a backgroundto the loveliness of the nobly-grouped figures. There isan attempt to express spiritual meanings but it is by outwardsymbols only and not by making the outward expression a vehiclefor something that comes from within and overpowers impalpably.This is allegory, the other is the drawing and painting of