SECTION LXXVII. _Fourth side_. Destroyed, all but a book, which identifies it with the "Celestial Chastity" of the Renaissance copy; there represented as a woman pointing to a book (connecting the convent life with the pursuit of literature?). Spenser's Chastity, Britomart, is the most exquisitely wrought of all his characters; but, as before noticed, she is not the Chastity of the convent, but of wedded life. SECTION LXXVIII. _Fifth side_. Only a scroll is left; but, from the copy, we find it has been Honesty or Truth. Inscribed "HONESTATEM DILIGO." It is very curious, that among all the Christian systems of the virtues which we have examined, we should find this one in Venice only. The Truth of Spenser, Una, is, after Chastity, the most exquisite character in the "Faerie Queen." SECTION LXXIX. _Sixth side_. Falsehood. An old woman leaning on a crutch; and inscribed in the copy, "FALSITAS IN ME SEMPER EST." The Fidessa of Spenser, the great enemy of Una, or Truth, is far more subtly conceived, probably not without special reference to the Papal deceits. In her true form she is a loathsome hag, but in her outward aspect, "A goodly lady, clad in scarlet red, Purfled with gold and pearle;... Her wanton palfrey all was overspred. With tinsell trappings, woven like a wave, Whose bridle rung with golden bels and bosses brave." Dante's Fraud, Geryon, is the finest personification of all, but the description (Inferno, canto XVII.) is too long to be quoted. SECTION LXXX. _Seventh side_. Injustice. An armed figure holding a halbert; so also in the copy. The figure used by Giotto with the particular intention of representing unjust government, is represented at the gate of an embattled castle in a forest, between rocks, while various deeds of violence are committed at his feet. Spenser's "Adicia" is a furious hag, at last transformed into a tiger. _Eighth side_. A man with a dagger looking sorrowfully at a child, who turns its back to him. I cannot understand this figure. It is inscribed in the copy, "ASTINECIA (Abstinentia?) OPITIMA?" SECTION LXXXI. THIRTEENTH CAPITAL. It has lions' heads all round, coarsely cut. FOURTEENTH CAPITAL. It has various animals, each sitting on its haunches. Three dogs, One a greyhound, one long-haired, one short-haired with bells about its neck; two monkeys, one with fan-shaped hair projecting on each side of its face; a noble boar, with its tusks, hoofs, and bristles sharply cut; and a lion and lioness. SECTION LXXXII. FIFTEENTH CAPITAL. The pillar to which it belongs is thicker than the rest, as well as the one over it in the upper arcade. The sculpture of this capital is also much coarser, and seems to me later than that of the rest; and it has no inscription, which is embarrassing, as its subjects have had much meaning; but I believe Selvatico is right in supposing it to have been intended for a general illustration of Idleness.