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Updated: October 31, 2024
In an embayed recess among the surrounding yew trees, leaning her back against the pedestal of a pleasantly comic version of the Medici Venus, executed by some nameless mason of the seicento, he saw Mary pensively sitting. "Hullo!" he said, for he was passing so close to her that he had to say something. Mary looked up. "Hullo!" she answered in a melancholy, uninterested tone.
Early seicento Venice had expended all its extravagant art in the making of it. The body of the bed was like a great square sarcophagus. Clustering roses were carved in high relief on its wooden panels, and luscious putti wallowed among the roses. On the black ground-work of the panels the carved reliefs were gilded and burnished.
To censure an exaggeration of the charm of modesty on the threshold of the seicento, or to object a strained sense of chastity against the author of the golden-age chorus, may indeed seem strange; but, as with Fletcher at a later date, the very extravagance of the paradox may supply us with the key to its solution.
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