n symbols
together do not at all approach the idea of Fortitude as given generally
by Giotto and the Pisan sculptors; clothed with a lion's skin, knotted
about her neck, and falling to her feet in deep folds; drawing back her
right hand, with the sword pointed towards her enemy; and slightly
retired behind her immovable shield, which, with Giotto, is square, and
rested on the ground like a tower, covering her up to above her
shoulders; bearing on it a lion, and with broken heads of javelins
deeply infixed.

Among the Greeks, this is, of course, one of the principal virtues;
apt, however, in their ordinary conception of it to degenerate into mere
manliness or courage.

Sec. LXXX. _Third side._ Temperance; bearing a pitcher of water and a
cup. Inscription, illegible here, and on the Renaissance copy nearly so,
"TEMPERANTIA SUM" (INOM' L^s)? only left. In this somewhat vulgar and
most frequent conception of this virtue (afterwards continually
repeated, as by Sir Joshua in his window at New College) temperance is
confused with mere abstinence, the opposite of Gula, or gluttony;
whereas the Greek Temperance, a truly cardinal virtue, is the moderator
of _all_ the passions, and so represented by Giotto, who has placed a
bridle upon her lips, and a sword in her hand, the hilt of which she is
binding to the scabbard. In his system, she is opposed among the vices,
not by Gula or Gluttony, but by Ira, Anger. So also the Temperance of
Spenser, or Sir Guyon, but with mingling of much sternness:

"A goodly knight, all armd in harnesse meete,
That from his head no place appeared to his feete,
His carriage was full comely and upright;
His countenance demure and temperate;
But yett so sterne and terrible in sight,
That cheard his friendes, and did his foes amate."

The Temperance of the Greeks, [Greek: sophrosyne], involves the idea of
Prudence, and is a most noble virtue, yet properly marked by Plato as
inferior to sacred enthusiasm, though necessary for its government. He
opposes it, under the name "Mortal Temperance" or "the Temperance which
is of men," to divine madness, [Greek: mania], or inspiration; but he
most justly and nobly expresses the general idea of it under the term
[Greek: hubris], which, in the "Phaedrus," is divided into various
intemperances with respect to various objects, and set forth under the
image of a black, vicious, diseased and furious horse, yoked by the side
of Prudence or Wisdom (se