_Ly_. Most noble lady, in what you term the great and excessive praise that I bestowed upon you, I find no such high testimony to your merits as that which you have borne yourself by your surprise at the attribution of divinity. That one thing surpasses all that I have said of you, and my only excuse for not having added this trait to my portrait is that I was not aware of it; if I had been, no other should have had precedence of it. In this light I find myself, far from exaggerating, to have fallen much short of the truth. Consider the magnitude of this omission, the convincing demonstration of a sterling character and a right disposition which I lost; for those will be the best in human relations who are most earnest in their dealings with the divine. Why, were it decided that I must correct my words and retouch my statue, I should do it not by presuming to take away from it, but by adding this as its crowning grace. But from another point of view I have a great debt of gratitude to acknowledge. I commend your natural modesty, and your freedom from that vanity and pride which so exalted a position as yours might excuse. The best witness to my correctness is just the exception that you have taken to my words. That instead of receiving the praise I offered as your right you should be disturbed at it and call it excessive, is the proof of your unassuming modesty. Nevertheless, the more you reveal that this is your view of praise, the stronger proof you give of your own worthiness to be praised. You are an exact illustration of what Diogenes said when some one asked him how he might become famous:— ‘by despising fame.’ So if I were asked who most deserve praise, I should answer, Those who refuse it. But I am perhaps straying from the point. What I have to defend is the having likened you, in giving your outward form, to the Cnidian and the Garden _Aphrodite_, to _Hera_ and _Athene_; such comparisons you find out of all proportion. I will deal directly with them, then. It has indeed been said long ago that poets and painters are irresponsible; that is still more true, I conceive, of panegyrists, even humble prose ones like myself who are not run away with by their metre. Panegyric is a chartered thing, with no standard quantitative measure to which it must conform; its one and only aim is to express deep admiration and set its object in the most enviable light. However, I do not intend to take that line of defence; you might think I did so because I had no other open.