tue is, of course, a principal one in the monkish systems;
represented by Giotto at Assisi as "an angel robed in black, placing the
finger of his left hand on his mouth, and passing the yoke over the head
of a Franciscan monk kneeling at his feet."[154]

Obedience holds a less principal place in Spenser. We have seen her
above associated with the other peculiar virtues of womanhood.

Sec. LXXV. _Seventh side._ Infidelity. A man in a turban, with a small
image in his hand, or the image of a child. Of the inscription nothing
but "INFIDELITATE * * *" and some fragmentary letters, "ILI, CERO,"
remain.

By Giotto Infidelity is most nobly symbolized as a woman helmeted, the
helmet having a broad rim which keeps the light from her eyes. She is
covered with heavy drapery, stands infirmly as if about to fall, is
_bound by a cord round her neck to an image_ which she carries in her
hand, and has flames bursting forth at her feet.

In Spenser, Infidelity is the Saracen knight Sans Foy,--

"Full large of limbe and every joint
He was, and cared not for God or man a point."

For the part which he sustains in the contest with Godly Fear, or the
Red-cross knight, see Appendix 2, Vol. III.

Sec. LXXVI. _Eighth side_. Modesty; bearing a pitcher. (In the Renaissance
copy, a vase like a coffee-pot.) Inscribed "MODESTIA [Illustration:
Graphic signs]."

I do not find this virtue in any of the Italian series, except that of
Venice. In Spenser she is of course one of those attendant on
Womanhood, but occurs as one of the tenants of the Heart of Man, thus
portrayed in the second book:

"Straunge was her tyre, and all her garment blew,
Close rownd about her tuckt with many a plight:
Upon her fist the bird which shonneth vew.

* * * * *

And ever and anone with rosy red
The bashfull blood her snowy cheekes did dye,
That her became, as polisht yvory
Which cunning craftesman hand hath overlayd
With fayre vermilion or pure castory."

Sec. LXXVII. EIGHTH CAPITAL. It has no inscriptions, and its subjects are
not, by themselves, intelligible; but they appear to be typical of the
degradation of human instincts.

_First side._ A caricature of Arion on his dolphin; he wears a cap
ending in a long proboscis-like horn, and plays a violin with a curious
twitch of the bow and wag of the head, very graphically expressed, but
still without anything approaching to the power of No