Bower of Bliss. II, xii, 42.
Mask of Cupid. III, xii.
Colin Clout’s Vision. VI, x, 10-27.
[P. 26.] Poussin, Nicolas (1594-1665), French painter. See Hazlitt’s delightful essay in “Table Talk” “On a Landscape by Nicholas Poussin.”
And eke. III, ix, 20.
the cold icicles. III, viii, 35.
That was Arion. IV, xi, 23-24.
Procession of the Passions. I, iv, 16 ff.
[P. 28.] Yet not more sweet. Southey’s “Carmen Nuptiale: Lay of the Laureate.” In the “Character of Milton’s Eve” in the “Round Table,” Hazlitt remarks that Spenser “has an eye to the consequences, and steeps everything in pleasure, often not of the purest kind.”
[P. 30.] Rubens, Peter Paul (1577-1640), Flemish painter. See the paper on “The Pictures at Oxford and Blenheim” (Works, IX, 71): “Rubens was the only artist that could have embodied some of our countryman Spenser’s splendid and voluptuous allegories. If a painter among ourselves were to attempt a Spenser Gallery, (perhaps the finest subject for the pencil in the world after Heathen mythology and Scripture history), he ought to go and study the principles of his design at Blenheim.”