Some of them washing with the liquid dew She having hung upon a bough on high Soon as she Venus saw behind her back, (32) Soon her garments loose, &c. This picture is from Ovid; but the lovely and beautifully coloured comparison of the garland is Spenser's own. MAY. Character: Budding Beauty in male and female; Animal Passion, Luminous Vernal colouring. Painter, Titian. Then came fair May, the fairest maid on ground, (33) (33) Then came, &c. Raphael would have delighted (but Titian's colours would be required) in the lovely and liberal uniformity of this picture, the young goddess May supported aloft; the two brethren on each side; animals and flowers below; birds in the air, and Cupid streaming overhead in his green mantle. Imagine the little fellow, with a body of Titian's carnation, tumbling in the air, and playfully holding the mantle, which is flying amply behind, rather than concealing him. This charming stanza beats the elegant but more formal invocation to May by Milton, who evidently had it in his recollection. Indeed the latter is almost a compilation from various poets. It is, however, too beautiful to be omitted here. Now the bright morning-star, day's harbinger, Hail bounteous May, that dost inspire And welcome thee, and wish thee long. 109 Spenser's "Lord! how all creatures laugh'd," is an instance of joyous and impulsive expression not common with English poets, out of the pale of comedy. They have geniality in abundance, but not animal spirits. AN ANGEL, WITH A PILGRIM AND A FAINTING Character: Active Superhuman Beauty, with the finest colouring and contrast. Painter, Titian. During the while that Guyon did abide In Mammon's house, the palmer, whom whilere The palmer leant his ear unto the noise, That bade him come in haste. He by-and-bye His feeble feet directed to the cry; Which to that shady delve him brought at last, There the good Guyon he found slumbering fast Beside his head there sat a fair young man, (34) Of wondrous beauty and of freshest years, His snowy front, curled with golden hairs, (34) Beside his head, &c. The superhuman beauty of this angel should be Raphael's, yet the picture, as a whole, demands Titian; and the painter of Bacchus was not incapable of the most imaginative exaltation of countenance. As to the angel's body, no one could have painted it like him,—nor the beautiful jay's wings; not to mention the contrast between the pilgrim's weeds and the knight's armour. See a picture of Venus blinding Cupid, beautifully engraved by Sir Robert Strange, in which the Cupid has variegated wings. AURORA AND TITHONUS. Character: Young and Genial Beauty, contrasted with Age,—the accessories full of the mixed warmth and chillness of morning. Painter, Guido. The joyous day gan early to appear, With rosy cheeks, for shame as blushing red. THE BRIDE AT THE ALTAR. Character: Flushed yet Lady-like Beauty, with ecstatic Angels regarding her. Painter, the same. Behold, while she before the altar stands, That ev'n the angels, which continually Forget their service and about her fly, Oft peeping in her face, that seems more fair (5) But her sad eyes, still fastened on the ground, That suffers not one look to glance awry, Which may let in a little thought unsound. |