“As to the muses in general,” he says, “it is remarkable that the poets say but little of them in a descriptive way; much less than might indeed be expected for deities to whom they were so particularly obliged.”[77] What is this but expressing surprise that the poets, when they speak of the muses, do not use the dumb language of the painter? In poetry, Urania is the muse of astronomy. Her name and her employment reveal her office. In art she can be recognized only by the wand with which she points to a globe of the heavens. The wand, the globe, and the attitude are the letters with which the artist spells out for us the name Urania. But when the poet wants to say that Urania had long read her death in the stars,— Ipsa diu positis lethum prædixerat astris Urania.[78] Why should he add, out of regard to the artist,—Urania, wand in hand, with the heavenly globe before her? Would that not be as if a man, with the power and privilege of speech, were to employ the signs which the mutes in a Turkish seraglio had invented to supply the want of a voice? Spence expresses the same surprise in regard to the moral beings, or those divinities who, among the ancients, presided over the virtues and undertook the guidance of human life.[79] “It is observable,” he says, “that the Roman poets say less of the best of these moral beings than might be expected. The artists are much fuller on this head; and one who would know how they were each set off must go to the medals of the Roman emperors. The poets, in fact, speak of them very often as persons; but of their attributes, their dress, and the rest of their figure they generally say but little.” When a poet personifies abstractions he sufficiently indicates their character by their name and employment. These means are wanting to the artist, who must therefore give to his personified abstractions certain symbols by which they may be recognized. These symbols, because they are something else and mean something else, constitute them allegorical figures. A female figure holding a bridle in her hand, another leaning against a column, are allegorical beings. But in poetry Temperance and Constancy are not allegorical beings, but personified abstractions. Necessity invented these symbols for the artist, who could not otherwise indicate the significance of this or that figure. But why should the poet, for whom no such necessity exists, be obliged to accept the conditions imposed upon the artist? What excites Spence’s surprise should, in fact, be prescribed as a law to all poets. They should not regard the limitations of painting as beauties in their own art, nor consider the expedients which painting has invented in order to keep pace with poetry, as graces which they have any reason to envy her. By the use of symbols the artist exalts a mere figure into a being of a higher order. Should the poet employ the same artistic machinery he would convert a superior being into a doll.