And yet there are other parts, that may maintain no mean
rivalship against it.

What a sublimity is to be attributed to his upright form! He is
not fashioned, veluti pecora, quae natura prona atque ventri
obedientia finxit. He is made coeli convexa tueri. The looks
that are given him in his original structure, are "looks
commercing with the skies."

How surpassingly beautiful are the features of his countenance;
the eyes, the nose, the mouth! How noble do they appear in a
state of repose! With what never-ending variety and emphasis do
they express the emotions of his mind! In the visage of man,
uncorrupted and undebased, we read the frankness and
ingenuousness of his soul, the clearness of his reflections, the
penetration of his spirit. What a volume of understanding is
unrolled in his broad, expanded, lofty brow! In his countenance
we see expressed at one time sedate confidence and awful
intrepidity, and at another godlike condescension and the most
melting tenderness. Who can behold the human eye, suddenly
suffused with moisture, or gushing with tears unbid, and the
quivering lip, without unspeakable emotion? Shakespear talks of
an eye, "whose bend could awe the world."

What a miraculous thing is the human complexion! We are sent
into the world naked, that all the variations of the blood might
be made visible. However trite, I cannot avoid quoting here the
lines of the most deep-thinking and philosophical of our poets:

We understood