SECTION LXVI. _Second side_. Gluttony. A woman in a turban, with a jewelled cup in her right hand. In her left, the clawed limb of a bird, which she is gnawing. Inscribed "GULA SINE ORDINE SUM." Spenser's Gluttony is more than usually fine: "His belly was upblownt with luxury, And eke with fatnesse swollen were his eyne, And like a crane his necke was long and fyne, Wherewith he swallowed up excessive feast, For want whereof poore people oft did pyne." He rides upon a swine, and is clad in vine-leaves, with a garland of ivy. Compare the account of Excesse, above, as opposed to Temperance. SECTION LXVII. _Third side_. Pride. A knight, with a heavy and stupid face, holding a sword with three edges: his armor covered with ornaments in the form of roses, and with two ears attached to his helmet. The inscription indecipherable, all but "SUPERBIA." Spenser has analyzed this vice with great care. He first represents it as the Pride of life; that is to say, the pride which runs in a deep under-current through all the thoughts and acts of men. As such, it is a feminine vice, directly opposed to Holiness, and mistress of a castle called the House of Pryde, and her chariot is driven by Satan, with a team of beasts, ridden by the mortal sins. In the throne chamber of her palace she is thus described: "So proud she shyned in her princely state, Looking to Heaven, for Earth she did disdayne; And sitting high, for lowly she did hate: Lo, underneath her scornefull feete was layne A dreadfull dragon with an hideous trayne; And in her hand she held a mirrhour bright, Wherein her face she often vewed fayne." The giant Orgoglio is a baser species of pride, born of the Earth and Eolus; that is to say, of sensual and vain conceits. His foster-father and the keeper of his castle is Ignorance. (Book I. canto viii.) Finally, Disdain is introduced, in other places, as the form of pride which vents itself in insult to others. SECTION LXVIII. _Fourth side_. Anger. A woman tearing her dress open at her breast. Inscription here undecipherable; but in the Renaissance Copy it IS "IRA CRUDELIS EST IN ME." Giotto represents this vice under the same symbol; but it is the weakest of all the figures in the Arena Chapel. The "Wrath" of Spenser rides upon a lion, brandishing a firebrand, his garments stained with blood. Rage, or Furor, occurs subordinately in other places. It appears to me very strange that neither Giotto nor Spenser should have given any representation of the _restrained_ Anger, which is infinitely the most terrible; both of them make him violent.