Whose tints are Truth and Beauty at their best;
And when you to Manfrini's palace go,[200]
That picture (howsoever fine the rest)
Is loveliest to my mind of all the show;
It may perhaps be also to your zest,
And that's the cause I rhyme upon it so:
Tis but a portrait of his Son, and Wife,
And self; but such a Woman! Love in life![201]
XIII.
Love in full life and length, not love ideal,
No, nor ideal beauty, that fine name,
But something better still, so very real,
That the sweet Model must have been the same;
A thing that you would purchase, beg, or steal,
Wer't not impossible, besides a shame:
The face recalls some face, as 'twere with pain,
You once have seen, but ne'er will see again;
XIV.
One of those forms which flit by us, when we
Are young, and fix our eyes on every face;
And, oh! the Loveliness at times we see
In momentary gliding, the soft grace,
The Youth, the Bloom, the Beauty which agree,
In many a nameless being we retrace,
Whose course and home we knew not, nor shall know,
Like the lost Pleiad[202] seen no more below.
XV.
I said that like a picture by Giorgione
Venetian women were, and so they are,
Particularly seen from a balcony,
(For beauty's sometimes best set off afar)
And there, just like a heroine of Goldoni,[202A]
They peep from out the blind, or o'er the bar;
And truth to say, they're mostly very pretty,
And rather like to show it, more's the pity!
XVI.
For glances beget ogles, ogles sighs,
Sighs wishes, wishes words, and words a letter,
Which flies on wings of light-heeled Mercuries,
Who do such things because they know no better;
And then, God knows what mischief may arise,
When Love links two young people in one fetter,
Vile assignations, and adulterous beds,
Elopements, broken vows, and hearts, and heads.