This is evidently the case in those arts which imitate the human face and figure. Painters and illustrators give the most minute study to facial expression, and suggest various sentiments by bits of light and shade so subtle that the uninitiated cannot see what or where they are, although their effect is everything as regards the depiction of personality. It is the failure to reproduce them that makes the emptiness of nearly all copies of famous painting or sculpture that represents the face. Perhaps not one person in a thousand, comparing the “Mona Lisa” or the “Beatrice Cenci” with one of the mediocre copies generally standing near them, can point out where the painter of the latter has gone amiss; yet the difference is like that between life and a wax image. The chief fame of some painters rests upon their power to portray and suggest certain rare kinds of feeling. Thus the people of Fra Angelico express to the eye the higher love, described in words by St. Paul and Thomas à Kempis. It is a distinctly human and social sentiment; his persons are nearly always in pairs, and, in his Paradise for instance, almost every face among the blest is directed in rapture toward some other face. Other painters, as Botticelli and Perugino—alike in this respect though not in most—depict a more detached sort of sentiment; and their people look out of the picture in isolated ecstasy or meditation. Sculpture appeals more to reminiscence of attitude, facial expression being somewhat subordinate, though here also the difference between originals and copies is largely in the lines of the eyes and mouth, too delicate to be reproduced by the mechanical instruments which copy broader outlines quite exactly. As to literature, it is enough to recall the fact that words allusive to traits of facial expression, and especially to the eye, are the immemorial and chosen means of suggesting personality.[21] To poetry, which seeks the sensuous nucleus of thought, the eye is very generally the person; as when Shakespeare says: “When in disgrace with fortune and men’s eyes, I all alone beweep my outcast state....” or Milton: “Thy rapt soul sitting in thine eyes.” Poetry, however, usually refrains from minute description of expression, a thing impossible in words, and strikes for a vivid, if inexact, impression, by the use of such phrases as “a fiery eye,” “a liquid eye,” and “The poet’s eye in a fine frenzy rolling.”[22]