There was a Fortune, too, of Guido; a piece of mere beauty. There was the figure of Fortune on a globe, eagerly proceeding onwards, and Love was trying to catch her back by the hair, and her face was half turned towards him; her long chestnut hair was floating in the stream of the wind, and threw its shadow over her fair forehead. Her hazel eyes were fixed on her pursuer with a meaning look of playfulness, and a light smile was hovering on her lips. The colours which arrayed her delicate limbs were aetherial and warm.
But, perhaps, the most interesting of all the pictures of Guido which I saw was a Madonna Lattante. She is leaning over her child, and the maternal feelings with which she is pervaded are shadowed forth on her soft and gentle countenance, and in her simple and affectionate gestures. There is what an unfeeling observer would call a dullness in the expression of her face; her eyes are almost closed ; her lip depressed; there is a serious, and even a heavy relaxation, as it were, of all the muscles which are called into action by ordinary emotions; but it is only as if the spirit of love, almost insupportable from its intensity, were brooding over, and weighing down the soul, or whatever it is, without which the material frame is inanimate and inexpressive. . . .
-from Selected Letters of Percy Bysshe Shelley edited with an introduction by Richard Garnett (London: Kegan Paul, Trench, & Co., 1882)