Tag Archives: Laconia

Elégie à Janet, Peintre du Roy – Elegy, to Janet the King’s artist (Am. 1:228b)

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Today, nearly 200 lines of charming verse – twice!

Pein-moy, Janet, pein-moy je te supplie
Sur ce tableau les beautez de m’amie
De la façon que je te les diray.
Comme importun je ne te suppliray
D’un art menteur quelque faveur luy faire.
Il suffit bien si tu la sçais portraire
Telle qu’elle est, sans vouloir desguiser
Son naturel pour la favoriser :
Car la faveur n’est bonne que pour celles
Qui se font peindre, et qui ne sont pas belles.
 
Fay-luy premier les cheveux ondelez,
Serrez, retors, recrespez, annelez,
Qui de couleur le cedre representent :
Ou les allonge, et que libres ils sentent
Dans le tableau, si par art tu le peux,
La mesme odeur de ses propres cheveux :
Car ses cheveux comme fleurettes sentent,
Quand les Zephyrs au printemps les éventent.
 
Que son beau front ne soit entre-fendu
De nul sillon en profond estendu,
Mais qu’il soit tel qu’est l’eau de la marine,
Quand tant soit peu le vent ne la mutine,
Et que gisante en son lict elle dort,
Calmant ses flots sillez d’un somne mort.
 
Tout au milieu par la gréve descende
Un beau ruby, de qui l’esclat s’espande
Par le tableau, ainsi qu’on voit de nuit
Briller les raiz de la Lune, qui luit
Dessus la neige au fond d’un val coulée,
De trace d’homme encore non foulée.
 
Apres fay luy son beau sourcy voutis
D’Ebene noir, et que son ply tortis
Semble un Croissant, qui monstre par la nuë
Au premier mois sa vouture cornuë :
Ou si jamais tu as veu l’arc d’Amour,
Pren le portrait dessus le demy-tour
De sa courbure à demy-cercle close :
Car l’arc d’Amour et luy n’est qu’une chose.
 
Mais las! Janet, helas je ne sçay pas
Par quel moyen, ny comment tu peindras
(Voire eusses-tu l’artifice d’Apelle)
De ses beaux yeux la grace naturelle,
Qui font vergongne aux estoilles des Cieux.
Que l’un soit doux, l’autre soit furieux,
Que l’un de Mars, l’autre de Venus tienne :
Que du benin toute esperance vienne,
Et du cruel vienne tout desespoir :
L’un soit piteux et larmoyant à voir,
Comme celuy d’Ariadne laissée
Aux bords de Die, alors que l’insensee
Pres de la mer, de pleurs se consommoit,
Et son Thesée en vain elle nommoit :
L’autre soit gay, comme il est bien croyable
Que l’eut jadis Penelope louable
Quand elle vit son mary retourné,
Ayant vingt ans loing d’elle sejourné.
 
Apres fay luy sa rondelette oreille
Petite, unie, entre blanche et vermeille,
Qui sous le voile apparoisse à l’egal
Que fait un lis enclos dans un crystal,
Ou tout ainsi qu’apparoist une rose
Tout fraischement dedans un verre enclose.
 
Mais pour neant tu aurois fait si beau
Tout l’ornement de ton riche tableau,
Si tu n’avois de la lineature
De son beau nez bien portrait la peinture.
Pein-le moy donc ny court, ny aquilin,
Poli, traitis, où l’envieux malin
Quand il voudroit n’y sçauroit que reprendre,
Tant proprement tu le feras descendre
Parmi la face, ainsi comme descend
Dans une plaine un petit mont qui pend.
 
Apres au vif pein moy sa belle joüe
Pareille au teint de la rose qui noüe
Dessus du laict, ou au teint blanchissant
Du lis qui baise un œillet rougissant.
 
Dans le milieu portrais une fossette,
Fossette, non, mais d’Amour la cachette,
D’où ce garçon de sa petite main
Lasche cent traits et jamais un en vain,
Que par les yeux droit au cœur il ne touche.
 
Helas ! Janet, pour bien peindre sa bouche,
A peine Homere en ses vers te diroit
Quel vermillon egaler la pourroit :
Car pour la peindre ainsi qu’elle merite,
Peindre il faudroit celle d’une Charite.
Pein-la moy doncq, qu’elle semble parler,
Ores sou-rire, ores embasmer l’air
De ne sçay quelle ambrosienne haleine :
Mais par sur tout fay qu’elle semble pleine
De la douceur de persuasion.
Tout à l’entour attache un milion
De ris, d’attraits, de jeux, de courtoisies,
Et que deux rangs de perlettes choisies
D’un ordre egal en la place des dents
Bien poliment soyent arrangez dedans.
 
Pein tout autour une lévre bessonne,
Qui d’elle-mesme en s’elevant semonne
D’estre baisée, ayant le teint pareil
Ou de la rose, ou du coural vermeil :
Elle flambante au Printemps sur l’espine,
Luy rougissant au fond de la marine.
 
Pein son menton au milieu fosselu,
Et que le bout en rondeur pommelu
Soit tout ainsi que lon voit apparoistre
Le bout d’un coin qui ja commence à croistre.
 
Plus blanc que laict caillé dessus le jonc
Pein luy le col, mais pein-le un petit long,
Gresle et charnu, et sa gorge doüillette
Comme le col soit un petit longuette.
 
Apres fay luy par un juste compas,
Et de Junon les coudes et les bras,
Et les beaux doigts de Minerve, et encore
La main egale à celle de l’Aurore.
 
Je ne sçay plus, mon Janet, où j’en suis :
Je suis confus et muet : je ne puis
Comme j’ay fait, te declarer le reste
De ses beautez qui ne m’est manifeste :
Las ! car jamais tant de faveurs je n’u,
Que d’avoir veu ses beaux tetins à nu.
Mais si lon peut juger par conjecture,
Persuadé de raisons je m’asseure
Que la beauté qui ne s’apparoit, doit
Estre semblable à celle que lon voit.
Donque pein-la, et qu’elle me soit faite
Parfaite autant comme l’autre est parfaite.
 
Ainsi qu’en bosse esleve moy son sein
Net, blanc, poli, large, entre-ouvert et plein,
Dedans lequel mille rameuses veines
De rouge sang tressaillent toutes pleines.
 
Puis, quand au vif tu auras descouvers
Dessous la peau les muscles et les ners,
Enfle au dessus deux pommes nouvelettes,
Comme l’on void deux pommes verdelettes
D’un orenger, qui encores du tout
Ne font qu’à l’heure à se rougir au bout.
 
Tout au plus haut des espaules marbrines,
Pein le sejour des Charites divines,
Et que l’Amour sans cesse voletant
Tousjours les couve et les aille esventant,
Pensant voler avec le Jeu son frere
De branche en branche és vergers de Cythere.
 
Un peu plus bas en miroir arrondi,
Tout potelé, grasselet, rebondi,
Comme celuy de Venus, pein son ventre :
Pein son nombril ainsi qu’un petit centre,
Le fond duquel paroisse plus vermeil
Qu’un bel œillet favoris du Soleil.
 
Qu’atten’s-tu plus ? portray moy l’autre chose
Qui est si belle, et que dire je n’ose,
Et dont l’espoir impatient me poind :
Mais je te pry, ne me l’ombrage point,
Si ce n’estoit d’un voile fait de soye
Clair et subtil, à fin qu’on l’entre-voye.
 
Ses cuisses soyent comme faites au Tour
A pleine chair, rondes tout à l’entour,
Ainsi qu’un Terme arrondi d’artifice
Qui soustient ferme un royal edifice.
 
Comme deux monts enleve ses genous,
Douillets, charnus, ronds, delicats et mous,
Dessous lesquels fay luy la gréve pleine,
Telle que l’ont les vierges de Lacene,
Quand pres d’Eurote en s’accrochant des bras
Luttent ensemble et se jettent à bas :
Ou bien chassant à meutes decouplees
Quelque vieil cerf és forests Amyclees.
 
Puis pour la fin portray-luy de Thetis
Les pieds estroits, et les talons petis.
 
Ha, je la voy ! elle est presque portraite :
Encore un trait, encore un, elle est faite.
Leve tes mains, hà mon Dieu, je la voy !
Bien peu s’en faut qu’elle ne parle à moy.
Paint me, Janet, paint me I pray
In this picture the beauties of my beloved
In the manner I’ll tell you them.
I shall not ask as a beggar
That you do her any favours with lying art.
It will be enough if you can portray her
Just as she is, without trying to disguise
Her natural looks to favour her :
For favour is no good but for those
Who have themselves painted but are not fair.
 
First, make her hair in waves,
Tied up, swept back, curled in ringlets,
Which have the colour of cedar ;
Or make it long and free, scented
In the picture, if you can do it with art,
With the same scent her own hair has ;
For her hair smells like flowers
When the spring Zephyrs fan them.
 
Make sure her fair brow is not lined
By any furrow long-extended,
But that it looks like the waters of the sea
When the wind does not disturb them in the slightest,
And when it sleeps, lying on its bed,
Calming its waves sunk in deepest sleep.
 
Down the middle of this strand make descend
A fair ruby, whose brightness should spread
Throughout the picture, as at night you see
Shining the rays of the moon, spreading light
Over the snow in the deeps of a sunken valley
Still untrodden by the foot of man.
 
Then make her fair arched eyebrow
Of black ebony, so that its curve
Resembles a crescent moon, showing through cloud
Its horned arc at the beginning of the month ;
Or, if you have ever seen Love’s bow,
Use its image above, the half-turn
Of its curve makig a half-circle ;
For Love’s bow and herself are but one thing.
 
But ah, Janet, ah ! I do not know
In what way or how you will paint
(Even if you had the skill of Apelles)
The natural grace of her lovely eyes
Which make the stars of Heaven ashamed.
Make one sweet, the other furious,
One having something of Mars, the other of Venus :
That from the kind one, every hope should come,
And from the cruel one, every despair ;
Let one be pitiful to see, in tears,
Like that of Ariadne abandoned
On the shores of Dia, while maddened
She was consumed in tears beside the sea
And called on her Theseus in vain ;
Let the other be happy, as we can believe
The praiseworthy Penelope was formerly
When she saw her husband returned
After staying for twenty years far from her.
 
Next, make her rounded ear,
Small, elegant, between white and pink,
Which should appear beneath its veil exactly
As a lily does, enclosed in crystal,
Or just a a rose would appear,
Completely fresh, enclosed in a vase.
 
But you would have painted so well
Every ornament of your rich picture, for nothing
If you had not well-depicted the line
Of her fair nose.
Paint me it, then, not short nor aquiline,
Elegant and well-made, so the wicked or envious
Even if he wanted could not reprove,
So exactly you’ll have made it descend
In the midst of her face, just as descends
Over a plain a little raised mound.
 
Then as in life paint me her fair cheek,
Equal to the tint of a rose which swims
Upon milk, or to the white tint
Of the lily kissing a blushing pink.
 
In the middle,portray a small dimple –
No not a dimple, but the hiding-place of Love
From which that boy with his little hand
Launches a hundred arrows and never one in vain
Which does not through the eyes go straight to the heart.
 
Ah, Janet ! to paint her mouth well
Homer himself in his verse could barely say
What crimson could equal it ;
For to paint it as it deserves
You would need to paint a Grace’s.
So, paint me it as she seems to be talking,
Now smiling, now perfuming the air
With some kind of ambrosial breath ;
But above all make her appear full
Of the sweetness of persuasion.
All around, attach a million
Smiles, attractiveness, jokes, courtesies ;
And let there be two rows of choice little pearls
In a neat line, in place of teeth,
Elegantly arrayed within.
 
Paint all round them those twin lips
Which, rising up, themselves invite
Being kissed, their colour equal
To a rose’s or crimson coral’s ;
The one flaming in spring on its thorn,
The other reddening at the bottom of the sea.
 
Paint her chin dimpled in the middle
And make the tip bud into roundness
Just as if we were seeing appear
The tip of a quince just beginning to grow.
 
Whiter than clotted cream on rushes
Paint her neck, but paint it a little long,
Slender but plump, and her soft throat
Like her neck should be a little long.
 
Then make her, accurately drawn,
The arms and elbows of Juno
And the lovely fingers of Minerva, and too
Hands equal to the Dawn’s.
 
I no longer know, Janet, where I am :
I am confused, dumb : I cannot
As I have done tell you the rest
Of her beauties which have not been shown me.
Ah, I have never had the good favour
To have seen her fair breasts naked,
But if we may judge by conjecture
With good reason I am convinced
That the beauty which is unseen should
Be like that we see.
So paint her, and let her be made
Perfect just as the lady herself is perfect.
 
As if embossed, raise up her breast
Clear, white, elegant, wide, half-uncovered, full,
Within which a thousand branchy veins
Filled with red blood quiver.
 
Then when as in life you have revealed
Beneath the skin the muscles and nerves,
Make swell on top two fresh apples,
Just as you night see two green apples
In an orchard, which still and all
Just grow redder by the moment at the tip.
 
Right above her marble shoulders
Paint the divine Graces resting,
And let Love ceaselessly flying around
Gaze on them always and keep fanning them,
Thinking he’s flying with Jest, his brother,
From branch to branch in the orchards of Cythera.
 
A little below, rounded like a mirror,
All rounded, plump and shapely,
Like that of Venus, paint her belly ;
Paint its button like a little target
The depths of which should appear more crimson
Than the lovely carnation, the Sun’s favourite.
 
What are you waiting for ? Paint me that other part
Which is so lovely, and which I dare not mention,
And impatient hope for which pricks me :
But I beg you, do not cover it over
Unless it be with a veil made of silk,
Clear and fine, that you can party see through.
 
Her thighs should be made like towers
Full-fleshed, rounded all about,
Just as a column artfully rounded
Which firmly holds up a royal building.
 
Like two hills raise up her knees
Downy, plump, round, delicate and soft ;
Beneath them make her calves full
As were those of the maids of Laconia
When near Eurotas, gripping their arms
They fought together and threw one another down ;
Or indeed hunting with unleashed hounds
Some old stag in the forests of Amyclae.
 
Then, finally, portray her with Thetis’
Narrow feet and small toes.
 
Ha, I see her ! she is almost portayed :
But one stroke more, justl one and she is done.
Raise your hands, ah my god, I see her !
She all but speaks to me.
 
We’ve met the painter Janet – a.k.a. François Clouet, known as Janet (‘Johnny’) as his father had been – before.
 
At the end of book 1, in two long Elegies, Ronsard puts on a firework display of classical names and references. But the two are done very differently: the Elegy to Muret (learned classicist and poet) is full of very obscure and learned references to Achilles; this poem (to Clouet) is full of readily-accessible classical references which point to well-known representations in art and (sometimes) literature, appropriate to a non-specialist like Clouet – and us! Let’s skim through them:
 – Zephyrs, that is to say just ‘gentle breezes’
 – Apelles is the ‘type’ of a great painter
 – Mars and Venus simply personify war and love
 – Ariadne & Theseus on Dia, another well-known image of the lady abandoned as her lover sails into the rising sun
 – Penelope and her husband Odysseus, famously separated for 20 years by his involvement in the Trojan War (Iliad) and then his adventures on the way home (Odyssey)
 – Homer, the ‘type’ of a great poet for his Iliad and Odyssey
 – the Graces, simply personifying ‘grace’ here
 – Juno and Minerva, ‘types’ for beauty because of their competition with Venus for the title of most beautiful in the ‘Judgement of Paris’
 – Dawn’s hands, because Homer always refers to ‘rosy-fingered Dawn’
 – Venus was born (and sometimes lived in) Cythera, with her son Cupid or Love; his brother is usually Anteros, the go of requited (as opposed to unrequited) love – not a god of games or jokes, as Ronsard seems to imply here. But clearly games and happiness in love are what is really going on here
 – the ‘maids of Laconia’ are those hardy Spartan lasses who used to do fighting and hunting like the Spartan boys. The city of Amyclae and the river Eurotas are in Sparta (the Peloponnese)
 – Thetis, a sea-goddess, leading Nereid and mother of Achilles, was surnamed ‘Silver-footed’ in classical times, and her feet are regularly used as a ‘type’ of beauty.
 
Overall, a lovely easy-going poem: Ronsard of course uses the form of the body to create expectation through the poem – we know he’s leading up to the breasts, and later the ‘part he dares not mention’, and that in itself gives the poem a certain sense of rise and fall.
 
The earlier version of course differs in detail, but also includes a whole extra ‘paragraph’ early in the description, later removed:
 
Pein-moy, Janet, pein-moy je te supplie
Sur ce tableau les beautez de m’amie
De la façon que je te les diray.
Comme importun je ne te suppliray
D’un art menteur quelque faveur luy faire.
Il suffit bien si tu la sçais portraire
Telle qu’elle est, sans vouloir desguiser
Son naturel pour la favoriser :
Car la faveur n’est bonne que pour celles
Qui se font peindre, et qui ne sont pas belles.
 
Fay-luy premier les cheveux ondelez,
Nouez, retors, recrespez, annelez,
Qui de couleur le cedre representent :
Ou les allonge, et que libres ils sentent
Dans le tableau, si par art tu le peux,
La mesme odeur de ses propres cheveux :
Car ses cheveux comme fleurettes sentent,
Quand les Zephyrs au printemps les éventent.
 
[Fais-lui le front en bosse revoûté,
Sur lequel soient d’un et d’autre côté
Peints gravement, sur trois sièges d’ivoire
A majesté, la vergogne at la gloire.]
 
Que son beau front ne soit entre-fendu
De nul sillon en profond estendu,
Mais qu’il soit tel qu’est la calme marine,
Quand tant soit peu le vent ne la mutine,
Et que gisante en son lict elle dort,
Calmant ses flots sillez d’un somne mort.
 
Tout au milieu par la gréve descende
Un beau ruby, de qui l’esclat s’espande
Par le tableau, ainsi qu’on voit de nuit
Briller les raiz de la Lune, qui luit
Dessus la neige au fond d’un val coulée,
De trace d’homme encore non foulée.
 
Apres fay luy son beau sourcy voutis
D’Ebene noir, et que son ply tortis
Semble un Croissant, qui monstre par la nuë
Au premier mois sa vouture cornuë :
Ou si jamais tu as veu l’arc d’Amour,
Pren le portrait dessus le demy-tour
De sa courbure à demy-cercle close :
Car l’arc d’Amour et luy n’est qu’une chose.
 
Mais las! mon Dieu, mon Dieu, je ne sçay pas
Par quel moyen, ny comment tu peindras
(Voire eusses-tu l’artifice d’Apelle)
De ses beaux yeux la grace naturelle,
Qui font vergongne aux estoilles des Cieux.
Que l’un soit doux, l’autre soit furieux,
Que l’un de Mars, l’autre de Venus tienne :
Que du benin toute esperance vienne,
Et du cruel vienne tout desespoir :
Ou que l’un soit pitoyable a le voir,
Comme celuy d’Ariadne laissée
Aux bords de Die, alors que l’insensee
Voyant la mer, de pleurs se consommoit,
Et son Thesée en vain elle nommoit :
L’autre soit gay, comme il est bien croyable
Que l’eut jadis Penelope louable
Quand elle vit son mary retourné,
Ayant vingt ans loing d’elle sejourné.
 
Apres fay luy sa rondelette oreille
Petite, unie, entre blanche et vermeille,
Qui sous le voile apparoisse à l’egal
Que fait un lis enclos dans un crystal,
Ou tout ainsi qu’apparoist une rose
Tout fraischement dedans un verre enclose.
 
Mais pour neant tu aurois fait si beau
Tout l’ornement de ton riche tableau,
Si tu n’avois de la lineature
De son beau nez bien portrait la peinture.
Pein-le moy donc gresle, long, aquilin,
Poli, traitis, où l’envieux malin
Quand il voudroit n’y sçauroit que reprendre,
Tant proprement tu le feras descendre
Parmi la face, ainsi comme descend
Dans une plaine un petit mont qui pend.
 
Apres au vif pein moy sa belle joüe
Pareille au teint de la rose qui noüe
Dessus du laict, ou au teint blanchissant
Du lis qui baise un œillet rougissant.
 
Dans le milieu portrais une fossette,
Fossette, non, mais d’Amour la cachette,
D’où ce garçon de sa petite main
Lasche cent traits et jamais un en vain,
Que par les yeux droit au cœur il ne touche.
 
Helas ! Janet, pour bien peindre sa bouche,
A peine Homere en ses vers te diroit
Quel vermillon egaler la pourroit :
Car pour la peindre ainsi qu’elle merite,
Peindre il faudroit celle d’une Charite.
Pein-la moy doncq, qu’elle semble parler,
Ores sou-rire, ores embasmer l’air
De ne sçay quelle ambrosienne haleine :
Mais par sur tout fay qu’elle semble pleine
De la douceur de persuasion.
Tout à l’entour attache un milion
De ris, d’attraits, de jeux, de courtoisies,
Et que deux rangs de perlettes choisies
D’un ordre egal en la place des dents
Bien poliment soyent arrangez dedans.
 
Pein tout autour une lévre bessonne,
Qui d’elle-mesme en s’elevant semonne
D’estre baisée, ayant le teint pareil
Ou de la rose, ou du coural vermeil :
Elle flambante au Printemps sur l’espine,
Luy rougissant au fond de la marine.
 
Pein son menton au milieu fosselu,
Et que le bout en rondeur pommelu
Soit tout ainsi que lon voit apparoistre
Le bout d’un coin qui ja commence à croistre.
 
Plus blanc que laict caillé dessus le jonc
Pein luy le col, mais pein-le un petit long,
Gresle et charnu, et sa gorge doüillette
Comme le col soit un petit longuette.
 
Apres fay luy par un juste compas,
Et de Junon les coudes et les bras,
Et les beaux doigts de Minerve, et encore
La main pareille à celle de l’Aurore.
 
Je ne sçay plus, mon Janet, où j’en suis :
Je suis confus et muet : je ne puis
Comme j’ay fait, te declarer le reste
De ses beautez qui ne m’est manifeste :
Las ! car jamais tant de faveurs je n’eu,
Que d’avoir veu ses beaux tetins à nu.
Mais si l’on peut juger par conjecture,
Persuadé de raisons je m’asseure
Que la beauté qui ne s’apparoit, doit
Estre semblable à celle que lon voit.
Donque pein-la, et qu’elle me soit faite
Parfaite autant comme l’autre est parfaite.
 
Ainsi qu’en bosse esleve moy son sein
Net, blanc, poli, large, profond et plein,
Dedans lequel mille rameuses veines
De rouge sang tressaillent toutes pleines.
 
Puis, quand au vif tu auras descouvers
Dessous la peau les muscles et les ners,
Enfle au dessus deux pommes nouvelettes,
Comme l’on void deux pommes verdelettes
D’un orenger, qui encores du tout
Ne font alors que se rougir au bout.
 
Tout au plus haut des espaules marbrines,
Pein le sejour des Charites divines,
Et que l’Amour sans cesse voletant
Tousjours les couve et les aille esventant,
Pensant voler avec le Jeu son frere
De branche en branche és vergers de Cythere.
 
Un peu plus bas en miroir arrondi,
Tout potelé, grasselet, rebondi,
Comme celuy de Venus, pein son ventre :
Pein son nombril ainsi qu’un petit centre,
Le fond duquel paroisse plus vermeil
Qu’un bel œillet entr’ouvert au Soleil.
 
Qu’atten’s-tu plus ? portray moy l’autre chose
Qui est si belle, et que dire je n’ose,
Et dont l’espoir impatient me poind :
Mais je te pry, ne me l’ombrage point,
Si ce n’estoit d’un voile fait de soye
Clair et subtil, à fin qu’on l’entre-voye.
 
Ses cuisses soyent comme faites au Tour
En grelissant, rondes tout à l’entour,
Ainsi qu’un Terme arrondi d’artifice
Qui soustient ferme un royal edifice.
 
Comme deux monts enleve ses genous,
Douillets, charnus, ronds, delicats et mous,
Dessous lesquels fay luy la gréve pleine,
Telle que l’ont les vierges de Lacene,
Quand pres d’Eurote en s’accrochant des bras
Luttent ensemble et se jettent à bas :
Ou bien chassant à meutes decouplees
Quelque vieil cerf és forests Amyclees.
 
Puis pour la fin portray-luy de Thetis
Les pieds estroits, et les talons petis.
 
Ha, je la voy ! elle est presque portraite :
Encore un trait, encore un, elle est faite.
Leve tes mains, hà mon Dieu, je la voy !
Bien peu s’en faut qu’elle ne parle à moy.
Paint me, Janet, paint me I pray
In this picture the beauties of my beloved
In the manner I’ll tell you them.
I shall not ask as a beggar
That you do her any favours with lying art.
It will be enough if you can portray her
Just as she is, without trying to disguise
Her natural looks to favour her :
For favour is no good but for those
Who have themselves painted but are not fair.
 
First, make her hair in waves,
Knotted up, swept back, curled in ringlets,
Which have the colour of cedar ;
Or make it long and free, scented
In the picture, if you can do it with art,
With the same scent her own hair has ;
For her hair smells like flowers
When the spring Zephyrs fan them.
 
[Make her brow projecting in an arc
On which should be, on each side,
Painted gravely modesty and glory
In majesty on three ivory thrones.
 
Make sure her fair brow is not lined
By any furrow long-extended,
But that it looks like the calm sea
When the wind does not disturb them in the slightest,
And when it sleeps, lying on its bed,
Calming its waves sunk in deepest sleep.
 
Down the middle of this strand make descend
A fair ruby, whose brightness should spread
Throughout the picture, as at night you see
Shining the rays of the moon, spreading light
Over the snow in the deeps of a sunken valley
Still untrodden by the foot of man.
 
Then make her fair arched eyebrow
Of black ebony, so that its curve
Resembles a crescent moon, showing through cloud
Its horned arc at the beginning of the month ;
Or, if you have ever seen Love’s bow,
Use its image above, the half-turn
Of its curve makig a half-circle ;
For Love’s bow and herself are but one thing.
 
But ah, my God, my God, I do not know
In what way or how you will paint
(Even if you had the skill of Apelles)
The natural grace of her lovely eyes
Which make the stars of Heaven ashamed.
Make one sweet, the other furious,
One having something of Mars, the other of Venus :
That from the kind one, every hope should come,
And from the cruel one, every despair ;
Or, let one be pitiful to see,
Like that of Ariadne abandoned
On the shores of Dia, while maddened
She was consumed in tears watching the sea
And called on her Theseus in vain ;
Let the other be happy, as we can believe
The praiseworthy Penelope was formerly
When she saw her husband returned
After staying for twenty years far from her.
 
Next, make her rounded ear,
Small, elegant, between white and pink,
Which should appear beneath its veil exactly
As a lily does, enclosed in crystal,
Or just a a rose would appear,
Completely fresh, enclosed in a vase.
 
But you would have painted so well
Every ornament of your rich picture, for nothing
If you had not well-depicted the line
Of her fair nose.
Paint me it, then, slender, long, aquiline,
Elegant and well-made, so the wicked or envious
Even if he wanted could not reprove,
So exactly you’ll have made it descend
In the midst of her face, just as descends
Over a plain a little raised mound.
 
Then as in life paint me her fair cheek,
Equal to the tint of a rose which swims
Upon milk, or to the white tint
Of the lily kissing a blushing pink.
 
In the middle,portray a small dimple –
No not a dimple, but the hiding-place of Love
From which that boy with his little hand
Launches a hundred arrows and never one in vain
Which does not through the eyes go straight to the heart.
 
Ah, Janet ! to paint her mouth well
Homer himself in his vere could barely say
What crimson could equal it ;
For to paint it as it deserves
You would need to paint a Grace’s.
So, paint me it as she seems to be talking,
Now smiling, now perfuming the air
With some kind of ambrosial breath ;
But above all make her appear full
Of the sweetness of persuasion.
All around, attach a million
Smiles, attractiveness, jokes, courtesies ;
And let there be two rows of choice little pearls
In a neat line, in place of teeth,
Elegantly arrayed within.
 
Paint all round them those twin lips
Which, rising up, themselves invite
Being kissed, their colour equal
To a rose’s or crimson coral’s ;
The one flaming in spring on its thorn,
The other reddening at the bottom of the sea.
 
Paint her chin dimpled in the middle
And make the tip bud into roundness
Just as if we were seeing appear
The tip of a quince just beginning to grow.
 
Whiter than clotted cream on rushes
Paint her neck, but paint it a little long,
Slender but plump, and her soft throat
Like her neck should be a little long.
 
Then make her, accurately drawn,
The arms and elbows of Juno
And the lovely fingers of Minerva, and too
Hands like the Dawn’s.
 
I no longer know, Janet, where I am :
I am confused, dumb : I cannot
As I have done tell you the rest
Of her beauties which have not been shown me.
Ah, I have never had the good favour
To have seen her fair breasts naked,
But if we may judge by conjecture
With good reason I am convinced
That the beauty which is unseen should
Be like that we see.
So paint her, and let her be made
Perfect just as the lady herself is perfect.
 
As if embossed, raise up her breast
Clear, white, elegant, wide, deep, full,
Within which a thousand branchy veins
Filled with red blood quiver.
 
Then when as in life you have revealed
Beneath the skin the muscles and nerves,
Make swell on top two fresh apples,
Just as you night see two green apples
In an orchard, which still and all
Just grow redder at the tip.
 
Right above her marble shoulders
Paint the divine Graces resting,
And let Love ceaselessly flying around
Gaze on them always and keep fanning them,
Thinking he’s flying with Jest, his brother,
From branch to branch in the orchards of Cythera.
 
A little below, rounded like a mirror,
All rounded, plump and shapely,
Like that of Venus, paint her belly ;
Paint its button like a little target
The depths of which should appear more crimson
Than the lovely carnation, half-open to the Sun.
 
What are you waiting for ? Paint me that other part
Which is so lovely, and which I dare not mention,
And impatient hope for which pricks me :
But I beg you, do not cover it over
Unless it be with a veil made of silk,
Clear and fine, that you can party see through.
 
Her thighs should be made like towers
Becoming slenderer, rounded all about,
Just as a column artfully rounded
Which firmly holds up a royal building.
 
Like two hills raise up her knees
Downy, plump, round, delicate and soft ;
Beneath them make her calves full
As were those of the maids of Laconia
When near Eurotas, gripping their arms
They fought together and threw one another down ;
Or indeed hunting with unleashed hounds
Some old stag in the forests of Amyclae.
 
Then, finally, portray her with Thetis’
Narrow feet and small toes.
 
Ha, I see her ! she is almost portayed :
But one stroke more, justl one and she is done.
Raise your hands, ah my god, I see her !
She all but speaks to me.
 
 
 
 
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