When Tasso was first introduced to her in her brother's court, Leonora was in her thirtieth year; a disparity of age which is certainly no argument against the passion she inspired. For a young man, at his first entrance into life, to fall in love ambitiously--with a woman, for instance, who is older than himself, or with one who is, or ought to be, unattainable--is a common occurrence. Tasso, from his boyish years, had been the sworn servant of beauty. He tells us, in grave prose, "che la sua giovanezza fu tutta sotto-posta all' amorose leggi;"[121] but he was also refined, even to fastidiousness, in his intercourse with women. He had formed, in his own poetical mind, the most exalted idea of what a female ought to be, and unfortunately, she who first realised all his dreams of perfection, was a Princess--"there seated where he durst not soar." Leonora was still eminently lovely, in that soft, artless, unobtrusive style of beauty, which is charming in itself, and in a princess irresistible, from its contrast with the loftiness of her station and the trappings of her rank. Her complexion was extremely fair; her features small and regular; and the form of her head peculiarly graceful, if I may judge from a fine medallion I once saw of her in Italy. Ill health, and her early acquaintance with the sorrows of her unfortunate mother, had given to her countenance a languid and pensive cast, and sicklied all the natural bloom of her complexion; but "Paleur, qui marque une ame tendre, a bien son prix:" so Tasso thought; and this "vago Pallore," which "vanquishes the rose, and makes the dawn ashamed of her blushes," he has frequently and beautifully celebrated; as in the pretty Madrigal-- Vita della mia Vita! _O Rosa scolorita!_ &c. and in those graceful lines, Languidetta beltà vinceva amore, &c. applicable only to Leonora. Her eyes were blue; her mouth of peculiar beauty, both in form and expression. In the seventh Sonnet, "Bella è la donna mia," he says it was the most lovely feature in her face; in another, still finer,[122] he styles this exquisite mouth "a crimson shell"-- Purpurea conca, in cui si nutre Candor di perle elette e pellegrine; and he concludes it with one of those disguises under which he was accustomed to conceal Leonora's name. E di sì degno cor tuo straLE ONORA. She was negligent in her dress, and studious and retired in her habits, seldom joining in the amusements of her brother's court, then the gayest and most magnificent in Italy.[123] Her accomplished and unhappy mother, Renée of France,[124] had early instilled into her mind a love of literature, and especially of poetry. She was passionately fond of music, and sang admirably. One of Tasso's most beautiful sonnets was composed on some occasion when her physician had forbidden her to sing. He who had so often felt the magic of that enchanting voice, thus describes its power and laments his loss:--