Only here and there has Thomson attempted full-length portraits in the Spenserian manner, as when Lethargy, Hydropsy, and Hypochondria are described with drastic realism.[228] The works of the minor Spenserians show a greater use of personified abstraction, but even with them there is no great excess. Moreover, where instances do occur, they show imaginative touches foreign to the prevalent types. Thus in the “Vision of Patience” by Samuel Boyce (d. 1778), Silence sits on her untroubled throne As if she left the world to live and reign alone, while Patience stands In robes of morning grey. Occasionally the personified abstractions, though occurring in avowedly Spenserian imitations, obviously owe more to the influence of “L’Allegro”; as in William Whitehead’s “Vision of Solomon” (1730), where the embroidered personifications are much more frequent than the detailed images given by Spenser.[229] The work of Chatterton represents another aspect of this revival of the past, but it is curious to find that, in his acknowledged “original” verse there are not many instances of the personified abstraction, whilst they are freely used in the Rowley poems. Where they do occur in his avowedly original work they are of the usual type, though more imaginative power is revealed in his personification of Winter: Pale rugged Winter bending o’er his tread, His grizzled hair bedropt with icy dew: His eyes a dusky light congealed and dead, His robe a tinge of bright ethereal blue. From our special point of view the “antiquarianism” of the Rowley poems might almost be disproved by the prevalence of abstractions and personifications, which in most instances are either unmistakably of the eighteenth century or which testify to the new Romantic atmosphere now manifesting itself. The stock types of frigid abstraction are all brought on the stage in the manner of the old Moralities, and each is given an ample speaking part in order to describe his own characteristics. But in addition to these lifeless abstractions, there are to be found in the Rowley poems a large number of detailed and elaborate personifications. Some of these are full length portraits in the Spenserian manner, and now and then the resulting personification is striking and beautiful, as when, in “Ælla” (59), Celmond apostrophizes Hope, or the evocation of Truth in “The Storie of William Canynge.” Chatterton has also in these poems a few personifications of natural powers, but these are mainly imitative as in the lines (“Ælla,” 94) reminiscent of Milton and Pope[230]: Bright sun had in his ruddy robes been dight From the red east he flitted with his train, The hours drew away the robe of night, Her subtle tapestry was rent in twain. But the evocation of the seasons themselves, as in “Ælla” (32),