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these little clouds will become fainter, more scanty, and diffused, in proportion to their distance from the horse. That nearest to his feet will consequently be the most determined, smallest, and the thickest of all.

Let the air be full of arrows, in all directions; some ascending, some falling down, and some darting straight forwards. The bullets of the musketry, though not seen, will be marked in their course by a train of smoke, which breaks through the general confusion. The figures in the foreground should have their hair covered with dust, as also their eyebrows, and all parts liable to receive it.

The victorious party will be running forwards, their hair and other light parts flying in the wind, their eyebrows lowered, and the motion of every member properly contrasted; for instance, in moving the right foot forwards, the left arm must be brought forwards also. If you make any of them fallen down, mark the trace of his fall on the slippery, gore-stained dust; and where the ground is less impregnated with blood, let the print of men's feet and of horses, that have passed that way, be marked. Let there be some horses dragging the bodies of their riders, and leaving behind them a furrow, made by the body thus trailed along.

The countenances of the vanquished will appear pale and dejected. Their eyebrows raised, and much wrinkled about the forehead and cheeks. The tips of their noses somewhat divided from the nostrils by arched wrinkles terminating at the corner of the eyes, those wrinkles being occasioned by the opening and raising of the nostrils. The upper lips turned up, discovering the teeth. Their mouths wide open, and expressive of violent lamentation. One may be seen fallen wounded on the ground, endeavoring with one hand to support his body, and covering his eyes with the other, the palm of which is turned towards the enemy. Others running away, and with open mouths seeming to cry aloud. Between the legs of the combatants let the ground be strewed with all sorts of arms, as broken shields, spears, swords, and the like. Many dead bodies should be introduced, some entirely covered with dust, others in part only; let the blood, which seems to issue immediately from the wound, appear of its natural color, and running in a winding course, till, mixing with the dust, it forms a reddish kind of mud. Some should be in the agonies of death; their teeth shut, their eyes wildly staring, their fists clenched,

VOL. XI.-14

and their legs in a distorted position. Some may appear disarmed, and beaten down by the enemy, still fighting with their fists and teeth, and endeavoring to take a passionate, though unavailing revenge. There may be also a straggling horse without a rider, running in wild disorder; his mane flying in the wind, beating down with his feet all before him and doing a deal of damage. A wounded soldier may also be seen falling to the ground, and attempting to cover himself with his shield, while an enemy bending over him endeavors to give him the finishing stroke. Several dead bodies should be heaped together under a dead horse. Some of the conquerors, as having ceased fighting, may be wiping from their faces the dirt collected on them by the mixture of dust with the water from their eyes.

The corps de reserve will be seen advancing gayly, but cautiously, their eyebrows directed forwards, shading their eyes with their hands to observe the motions of the enemy, amidst clouds of dust and smoke, and seeming attentive to the orders of their chief. You may also make their commander holding up his staff, pushing forwards, and pointing towards the place where they are wanted. A river may likewise be introduced, with horses fording it, dashing the water about between their legs, and in the air, covering all the adjacent ground with water and foam. Not a spot is to be left without some marks of blood and carnage.

159. THE REPRESENTATION OF AN ORATOR AND HIS

AUDIENCE.

If you have to represent a man who is speaking to a large assembly of people, you are to consider the subject-matter of his discourse, and to adapt his attitude to such subject. If he means to persuade, let it be known by his gesture. If he is giving an explanation, deduced from several reasons, let him put two fingers of the right hand within one of the left, having the other two bent close, his face turned towards the audience, with the mouth half open, seeming to speak. If he is sitting, let him appear as going to raise himself up a little, and his head be forwards. But if he is represented standing, let him bend his chest and his head forwards towards the people.

The auditory are to appear silent and attentive, with their eyes upon the speaker, in the act of admiration. There should

be some old men, with their mouths close shut, in token of approbation, and their lips pressed together, so as to form wrinkles at the corners of the mouth and about the cheeks, and forming others about the forehead, by raising the eyebrows, as if struck with astonishment. Some others of those sitting by should be seated with their hands within each other, round one of their knees; some with one knee upon the other, and upon that, one hand receiving the elbow, the other supporting the chin, covered with a venerable beard.

160. OF DEMONSTRATIVE GESTURES.

The action by which a figure points at anything near, either in regard to time or situation, is to be expressed by the hand very little removed from the body. But if the same thing is far distant, the hand must also be far removed from the body, and the face of the figure pointing must be turned towards those to whom he is pointing it out.

161. OF THE ATTITUDES OF THE BYSTANDERS AT SOME REMARKABLE EVENT.

All those who are present at some event deserving notice express their admiration, but in various manners: as when the hand of justice punishes some malefactor. If the subject be an act of devotion, the eyes of all present should be directed towards the object of their adoration, aided by a variety of pious actions with the other members: as at the elevation of the host at mass, and other similar ceremonies. If it be a laughable subject, or one exciting compassion and moving to tears, in those cases it will not be necessary for all to have their eyes turned towards the object, but they will express their feelings by different actions; and let there be several assembled in groups, to rejoice or lament together. If the event be terrific, let the faces of those who run away from the sight be strongly expressive of fright, with various motions, as shall be described in the tract on motion.

SONNETS OF MICHAEL ANGELO.

TRANSLATED BY J. A. SYMONDS.

[MICHAEL ANGELO, the great Italian sculptor, painter, and architect, was born in Tuscany, March 6, 1475. He was a pupil of Ghirlandajo; was employed by Lorenzo de' Medici; lived chiefly in Florence but was often engaged in Rome. From 1533 to 1541 he was occupied with his great fresco, "The Last Judgment," in the Sistine Chapel. From 1546 till his death, February 18, 1564, he was architect of St. Peter's at Rome, holding this place under five popes; he designed and built the famous dome.]

THE GARLAND AND THE Girdle.

WHAT joy hath yon glad wreath of flowers that is
Around her golden hair so deftly twined,

Each blossom pressing forward from behind,
As though to be the first her brows to kiss!
The livelong day her dress hath perfect bliss,
That now reveals her breast, now seems to bind;
And that fair woven net of gold refined
Rests on her cheek and throat in happiness.
Yet still more blissful seems to me the band

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Gilt at the tips, so sweetly doth it ring
And clasp the bosom that it serves to lace
Yea! and the belt to such as understand,
Bound round her waist, saith-"Here I'd ever cling!"
What would my arm do in that girdle's place?

THE TRANSFIGURATION OF BEAUTY.

(A Dialogue with Love.)

Nay! prithee tell me, Love! when I behold
My Lady, do mine eyes her beauty see

In truth, or dwells that loveliness in me

Which multiplies her grace a thousandfold?

Thou needs must know, for thou with her of old

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Comèst to stir my soul's tranquillity;

Yet would I not seek one sigh less, or be

By loss of that loved flame more simply cold.

"The beauty thou discernest is all hers;

But grows in radiance as it soars on high
Through mortal eyes unto the soul above:
'Tis there transfigured,- for the soul confers,
On what she holds, her own divinity:

And this transfigured beauty wins thy love."

EPISODES FROM "ORLANDO FURIOSO."

BY LUDOVICO ARIOSTO.

(Translation of W. S. Rose.)

[LUDOVICO ARIOSTO, One of the greatest of Italian poets, was born at Reggio, in northern Italy, September 8, 1474. He was intended for the law by his father, but at length, being allowed to follow his own inclinations, studied the classics and devoted himself to literature. About 1503 he settled in Ferrara and entered the service of Cardinal Ippolito d'Este, who employed him in various political negotiations. During his leisure hours throughout a period of ten years he wrote his masterpiece, “Orlando Furioso" (Orlando Mad), an epic poem in forty-five cantos, celebrating the achievements of the Paladins of Charlemagne in the wars between the Christians and the Moors. It is virtually a continuation of Boiardo's metrical romance, "Orlando Innamorato" (Orlando in Love). Ariosto subsequently joined the court of the cardinal's brother, Alfonso, Duke of Ferrara, and in 1512 was appointed governor of Garfagnana, a mountainous district infested with brigands. After a successful administration of three years he returned to Ferrara, where he died June 6, 1533. Besides his main work he wrote comedies, satires, sonnets, and Latin poems.]

ALCINA THE ENCHANTRESS.

Not so much does the palace, fair to see,

In riches other princely domes excel,

As that the gentlest, fairest company

Which the whole world contains, within it dwell:

Of either sex, with small variety

Between, in youth and beauty matched as well:

The fay alone exceeds the rest as far

As the bright sun outshines each lesser star.

Her shape is of such perfect symmetry,

As best to feign the industrious painter knows,
With long and knotted tresses; to the eye
Not yellow gold with brighter luster glows.
Upon her tender cheek the mingled dye
Is scattered, of the lily and the rose.

Like ivory smooth, the forehead gay and round
Fills up the space, and forms a fitting bound.

Two black and slender arches rise above

Two clear black eyes, say suns of radiant light;
Which ever softly beam and slowly move;
Round these appears to sport in frolic flight,
Hence scattering all his shafts, the little Love,
And seems to plunder hearts in open sight.

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