----to whose masculine spirit To touch the stars had seemed an easy flight. She added to her talents and virtues, strong passions,--and happily also sufficient energy of mind to govern and direct them. She had not Vittoria's personal charms: it is said, that if her face had equalled her form, she would have been one of the most beautiful women of her time; but her features were irregular, and her grand commanding figure, which in her youth was admired for its perfect proportions, grew large and heavy as she advanced in life. She retained, however, to the last, the animation of her countenance, the dignity of her deportment, and powers of conversation so fascinating, that none ever approached her without admiration, or quitted her society without regret. Her verses have not the polished harmony and the graceful suavity of Vittoria's; but more vigour of expression, and more vivacity of colouring. Their defects were equally opposed: the simplicity of Veronica sometimes borders upon harshness and carelessness; the uniform sweetness of Vittoria is sometimes too elaborate and artificial. Veronica Gambara was born in 1485. Her _fortunate_ parents, as her biographer expresses it,[39] were Count Gian Francisco Gambara, and Alda Pia. In her twenty-fifth year, when already distinguished as a poetess, and a woman of great and various learning, she married Ghiberto Count of Correggio, to whom she appears to have been attached with all the enthusiasm of her character, and by whom she was tenderly loved in return. After the birth of her second son, she was seized with a dangerous disorder, of what nature we are not told. The physicians informed her husband that they did not despair of her recovery, but that the remedies they should be forced to employ would probably preclude all hope of her becoming again a mother. The Count, who had always wished for a numerous offspring, ordered them to employ these remedies instantly, and save her to him at every other risk. She recovered; but the effects upon her constitution were such as had been predicted. Like Vittoria Colonna, she made the personal qualities and renown of her husband the principal subjects of her verse. She dwells particularly on his fine dark eyes, expressing very gracefully the various feelings they excited in her heart, whether clouded with thought, or serene with happiness, or sparkling with affection.[40] She devotes six Sonnets and a Madrigal to this subject; and if we may believe his poetical and admiring wife, these "occhi stellante" could combine more variety of expression in a single glance than ever did eyes before or since. Lieti, mesti, superbi, umili, altieri, Vi mostrate in un punto; onde di speme E di timor m' empiete.-- There is great power and pathos in one of her poems, written on his absence. O Stella! O Fato! del mio mal si avaro! Ch' l mio ben m'allontani, anzi m'involi-- Fia mai quel di ch' io lo riveggia o mora?[41]