nless, indeed, it is
intended to unite the idea of Mercy and Compassion with that of Sacred
Sorrow.

Sec. XCVI. _Second side._ Cheerfulness. A woman with long flowing hair,
crowned with roses, playing on a tambourine, and with open lips, as
singing. Inscribed "ALACRITAS."

We have already met with this virtue among those especially set by
Spenser to attend on Womanhood. It is inscribed in the Renaissance copy,
"ALACHRITAS CHANIT MECUM." Note the gutturals of the rich and fully
developed Venetian dialect now affecting the Latin, which is free from
them in the earlier capitals.

Sec. XCVII. _Third side._ Destroyed; but, from the copy, we find it has
been Stultitia, Folly; and it is there represented simply as a man
_riding_, a sculpture worth the consideration of the English residents
who bring their horses to Venice. Giotto gives Stultitia a feather, cap,
and club. In early manuscripts he is always eating with one hand, and
striking with the other; in later ones he has a cap and bells, or cap
crested with a cock's head, whence the word "coxcomb."

Sec. XCVIII. _Fourth side._ Destroyed, all but a book, which identifies it
with the "Celestial Chastity" of the Renaissance copy; there represented
as a woman pointing to a book (connecting the convent life with the
pursuit of literature?).

Spenser's Chastity, Britomart, is the most exquisitely wrought of all
his characters; but, as before noticed, she is not the Chastity of the
convent, but of wedded life.

Sec. XCIX. _Fifth side._ Only a scroll is left; but, from the copy, we
find it has been Honesty or Truth. Inscribed "HONESTATEM DILIGO." It is
very curious, that among all the Christian systems of the virtues which
we have examined, we should find this one in Venice only.

The Truth of Spenser, Una, is, after Chastity, the most exquisite
character in the "Faerie Queen."

Sec. C. _Sixth side._ Falsehood. An old woman leaning on a crutch; and
inscribed in the copy, "FALSITAS IN ME SEMPER EST." The Fidessa of
Spenser, the great enemy of Una, or Truth, is far more subtly conceived,
probably not without special reference to the Papal deceits. In her true
form she is a loathsome hag, but in her outward aspect,

"A goodly lady, clad in scarlot red,
Purfled with gold and pearle;...
Her wanton palfrey all was overspred
With tinsell trappings, woven like a wave,
Whose bridle rung with golden bels and bosses brave."

Dante's Fraud, Geryon, is the finest pe