It may be that when the poet says,—
Di persona era tanto ben formata,
Quanto mai finger san pittori industri,
he proves himself to have had a complete knowledge of the laws of perspective, such as only the most industrious artist can acquire from a study of nature and of ancient art.[[131]]
In the words,—
Spargeasi per la guancia delicata
Misto color di rose e di ligustri,
he may show himself to be a perfect master of color,—a very Titian.[[132]] His comparing Alcina’s hair to gold, instead of calling it golden hair, may be taken as proof that he objected to the use of actual gold in coloring.[[133]] We may even discover in the descending nose the profile of those old Greek noses, afterwards borrowed by Roman artists from the Greek masterpieces.[[134]] Of what use is all this insight and learning to us readers who want to fancy we are looking at a beautiful woman, and desire to feel that gentle quickening of the pulses which accompanies the sight of actual beauty? The poet may know the relations from which beauty springs, but does that make us know them? Or, if we know them, does he show them to us here? or does he help us in the least to call up a vivid image of them?
A brow that forms a fitting bound,
Che lo spazio finia con giusta meta;