and. In her left, the clawed limb of a bird,
which she is gnawing. Inscribed "GULA SINE ORDINE SUM."

Spenser's Gluttony is more than usually fine:

"His belly was upblowne with luxury,
And eke with fatnesse swollen were his eyne,
And like a crane his necke was long and fyne,
Wherewith he swallowed up excessive feast,
For want whereof poore people oft did pyne."

He rides upon a swine, and is clad in vine-leaves, with a garland of
ivy. Compare the account of Excesse, above, as opposed to Temperance.

Sec. LXXXVIII. _Third side._ Pride. A knight, with a heavy and stupid
face, holding a sword with three edges: his armor covered with ornaments
in the form of roses, and with two ears attached to his helmet. The
inscription indecipherable, all but "SUPERBIA."

Spenser has analyzed this vice with great care. He first represents it
as the Pride of life; that is to say, the pride which runs in a deep
under current through all the thoughts and acts of men. As such, it is a
feminine vice, directly opposed to Holiness, and mistress of a castle
called the House of Pryde, and her chariot is driven by Satan, with a
team of beasts, ridden by the mortal sins. In the throne chamber of her
palace she is thus described:

"So proud she shyned in her princely state,
Looking to Heaven, for Earth she did disdayne;
And sitting high, for lowly she did hate:
Lo, underneath her scornefull feete was layne
A dreadfull dragon with an hideous trayne;
And in her hand she held a mirrhour bright,
Wherein her face she often vewed fayne"

The giant Orgoglio is a baser species of pride, born of the Earth and
Eolus; that is to say, of sensual and vain conceits. His foster-father
and the keeper of his castle is Ignorance. (Book I. canto VIII.)

Finally, Disdain is introduced, in other places, as the form of pride
which vents itself in insult to others.

Sec. LXXXIX. _Fourth side._ Anger. A woman tearing her dress open at her
breast. Inscription here undecipherable; but in the Renaissance copy it
is "IRA CRUDELIS EST IN ME."

Giotto represents this vice under the same symbol; but it is the weakest
of all the figures in the Arena Chapel. The "Wrath" of Spenser rides upon
a lion, brandishing a fire-brand, his garments stained with blood. Rage,
or Furor, occurs subordinately in other places. It appears to me very
strange that neither Giotto nor Spenser should have given any
representation of the _restrained_ Anger,