ars he has spoken too plainly,
and will be reported.

339. Chianti: a wine named from the part of Italy so called.

345. There's for you: he tips them.

346. Sant' Ambrogio's: a convent in Florence.

354. Saint John: John the Baptist is meant; see v. 375.

355. Saint Ambrose: born about 340; made archbishop of Milan in 374;
died 397; instituted the `Ambrosian Chant'.

377. Iste perfecit opus!: this is on a scroll, in the picture,
held by the "sweet angelic slip of a thing".

389. The picture referred to is `The Coronation of the Virgin',
in the `Accademia delle Belle Arti', in Florence. There is a photograph
of it in `Illustrations to Browning's Poems', Part I., published by
the Browning Society, with an interesting description of the picture,
by Mr. Ernest Radford. There's no "babe" in the picture.

392. Zooks!: it's high time I was back and in bed,
that my night-larking be not known.

A Face.

If one could have that little head of hers
Painted upon a background of pale gold,
Such as the Tuscan's early art prefers!
No shade encroaching on the matchless mould
Of those two lips, which should be opening soft
In the pure profile; not as when she laughs,
For that spoils all: but rather as if aloft
Yon hyacinth, she loves so, leaned its staff's
Burthen of honey-colored buds, to kiss
And capture 'twixt the lips apart for this. {10}
Then her lithe neck, three fingers might surround,
How it should waver, on the pale gold ground,
Up to the fruit-shaped, perfect chin it lifts!
I know, Correggio loves to mass, in rifts
Of heaven, his angel faces, orb on orb
Breaking its outline, burning shades absorb:
But these are only massed there, I should think,
Waiting to see some wonder momently
Grow out, stand full, fade slow against the sky
(That's the pale ground you'd see this sweet face by), {20}
All heaven, meanwhile, condensed into one eye
Which fears to lose the wonder, should it wink.

--
1. If one could have: Oh, if one could only have, etc.

9, 10. to kiss and capture: gerundives: to be kissed and captured.

14. Correggio: Antonio Allegri da Correggio, born 1494, died 1534.
"He was the first master--the Venetians notwithstanding--
to take a scheme of color and chiaro-scuro as the `raison d'etre'
of a complete composition, and his brush, responding to the