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philosopher to develop the laws of light and shade, with the principles of perspective, and to adapt the several parts to the whole composition; the skill of the anatomist to give with due precision the relative proportions, and harmonize the complete figure; the technical knowledge of the artist, his cultivated eye and his practised hand, together with a large share of judgment and feeling, to give life and expression to his production;—these all must have gathered around that canvas, tracing out line by line forms and objects, bringing forth shade by shade effects of beauty and loveliness, and then lighting up the whole with a rich sunburst of genius.
Or, to take another illustration. How little do we think generally of the wondrous art of musical combinations! We listen, perchance, with hushed delight to a sublime composition of some master-spirit.*[1] We close our eyes, and Fancy places us on a lofty mountain; the mists of chaos envelop us, and darkness is upon the face of the deep; but, ere long, the serene tones of conscious Power breathe through that elemental gloom and confusion, "Let there be light!" and at once the clouds are rent, the mists are dispersed; we stand amid a shower of sunshine, which sparkles over God's creation—for—there is light!
Soon again we walk in Paradise, and hear, softly swelling from the heights of heavenly distance, the choral song of the sons of the morning, blending its triumphal notes with our first parents' grateful hymn of adoration.
Such power has music, and yet how few think of what is required for its creations! Brilliant are its effects, complicated also are its causes, and
- ↑ We take, for example, Haydn's "Creation"
