Whoever compares this picture, with that drawn for Vanessa in the poem, will hardly conceive it possible that they should both be copies of the same original. In the one, she is represented as a model of perfection, adorned with every grace and virtue that could raise her above her sex: in the other as not possessed of one good quality, either of mind or person, and replete with such foibles, and bad dispositions, as must degrade her to the lowest rank. If it be supposed that the former was a very flattering likeness, and the chief beauties and embellishments there, were only the creatures of a poetick fancy, let us see how far the same painter has kept up a resemblance, in the more correct drawing, and chaste colouring of prose. For this purpose let us have recourse to a letter of his written to her in French, six years after the poem, May 12, 1619, part whereof has been already quoted, and of which the following is a literal translation:
"I make you my compliments on your perfection in the French language. It is necessary to be long acquainted with you, in order to know all your accomplishments: every time, in seeing and hearing you, new ones appear, which before were concealed. I am ashamed to think I know only the Gascon and Patois in comparison of you. There is no objection to be made either to the orthography, propriety, elegance, ease, or spirit of the whole. And what a blockhead am I to answer you in the same language! You, who are incapable of any folly, unless it be the esteem you are pleased to entertain for me: for, it is no merit, nor any proof of my good taste to find out in you all that nature has bestowed on a mortal; that is to say, honour, virtue, good sense,
