sceptre in his left, which I think has terminated in a human figure. He
has a flowing beard, and a singularly high crown; the face is much
injured, but has once been very noble in expression.

SIXTH CAPITAL. Has large male and female heads, very coarsely cut, hard,
and bad.

Sec. LXIX. SEVENTH CAPITAL. This is the first of the series which is
complete; the first open arch of the lower arcade being between it and
the sixth. It begins the representation of the Virtues.

_First side_. Largitas, or Liberality: always distinguished from the
higher Charity. A male figure, with his lap full of money, which he
pours out of his hand. The coins are plain, circular, and smooth; there
is no attempt to mark device upon them. The inscription above is,
"LARGITAS ME ONORAT."

In the copy of this design on the twenty-fifth capital, instead of
showering out the gold from his open hand, the figure holds it in a
plate or salver, introduced for the sake of disguising the direct
imitation. The changes thus made in the Renaissance pillars are always
injuries.

This virtue is the proper opponent of Avarice; though it does not occur
in the systems of Orcagna or Giotto, being included in Charity. It was a
leading virtue with Aristotle and the other ancients.

Sec. LXX. _Second side_. Constancy; not very characteristic. An armed man
with a sword in his hand, inscribed, "CONSTANTIA SUM, NIL TIMENS."

This virtue is one of the forms of fortitude, and Giotto therefore sets
as the vice opponent to Fortitude, "Inconstantia," represented as a
woman in loose drapery, falling from a rolling globe. The vision seen in
the interpreter's house in the Pilgrim's Progress, of the man with a
very bold countenance, who says to him who has the writer's ink-horn by
his side, "Set down my name," is the best personification of the
Venetian "Constantia" of which I am aware in literature. It would be
well for us all to consider whether we have yet given the order to the
man with the ink-horn, "Set down my name."

Sec. LXXI. _Third side_. Discord; holding up her finger, but needing the
inscription above to assure us of her meaning, "DISCORDIA SUM,
DISCORDANS." In the Renaissance copy she is a meek and nun-like person
with a veil.

She is the Ate of Spenser; "mother of debate," thus described in the
fourth book:

"Her face most fowle and filthy was to see,
With squinted eyes contrarie wayes intended;
And loathly mouth, unmeete a mouth to bee,
Th