VIII. Prendre entre quat'z-yeux

VIII. Prendre entre quat'z-yeux

Herculean Addition—This roofless state of a planisphere of a room, or Palazzo di Schifanioa belayed
By an escaped kestrel with jesses along painstakingly applied azurite
Aligned with the Dragon's Head; Midheaven with Jupiter, for the day's effort
On the laborer cordoned with a hangman's rope—The Moon’s first and eighth
Housed hours, while not yet having the decanates, the hypostasis of Circe
Eludes answer—There is a feralia of Giovanni “El Grechetto” Castiglione (1609-1664)

Whose etchings on laid paper imply the Mother of the Lares; after Ovid, Lara—Castiglione’s
Unknown dealings in Ferrara, as shade from the Lion’s tower cornered by Fortune’s eight-spoked wheels of D’Estensi, for Mantua—Joachim du Bellay’s
Petrarchanism culminating in Les Regrets (1558) seven decades after the Florentine editio princeps of Homer (1488), Book X's fulfillment of Circe—
Begun in 1492, Rossetti’s Palazzo dei Diamanti, at the orthogonal arteries of angels and equinoxes; or, redder still, the ashlar siding of Solari’s Muscovite Palace of Facets (1490)—Borso's guest, Boiardo, whose Orlando innamorato (1482) offered azurite
From the river at the base of Etna creased by a jealous boulder, found his way down a marble staircase sketched with carbon—The effort
Of 22 letters formed by the 10th letter, appearing in print as tears or sweat; there again, the planetary triangle—Four stanzas of eight-lines,

Yeats’s opening of The Tower (February 14, 1928)— Pellegrino Prisciani’s suite for the west wall, the effaced eighth
Sign of Ercole I d'Este, Scorpio (26 October 1431)—Martial reparation, where Castiglione’s
Rachel packs the idols, to Laban, then realizing their loss (1650); their concealed efforts,
The Codex De sphera entry of the Sforzas (1491)—Dating to the execution of the Palazzo di Schifanoia’s Venus, with imitated Graces, Francesco’s pigment belays
Maia, Uni Mae of the Piacenza Liver, with one of the twin Lares; April’s Bull opposite the Scorpion, where a Circean
Sunless wound deposited in Chiron, the posited four cures of gentian, bay-leaves, myrrh, birth-wort—Azurite

Of the hyperborean Fauna, left by Hercules; Petrarca’s eight years in Milan, the last four at Arquà—Triumph of Love’s azurite
Birth of Adam and Passion of Christ, April 6, 1327—Hercules choice, where six labors line the Hall of the Five Hundred, and the plucked chalk line of intonaco is mislaid to mass print—Francesco del Cossa drifts to Bologna, with its eight
Colleges founded by 1500, as one by a later name—El Grechetto reaches Rome (1632), with his prepared market flocks, their capriccio shepherd expressions with nothing comparable to say, amends this unknowing concession to Circe—
This Annunciation (1472), attended by a snail, is the duration of one’s ambitions, if Baldassare Castiglione of Mantua denotes this life, the obvious effort’s
Antithesis of grace (1528)—Scorpions of Ficino (19 October 1433) and Bronzino (November 17, 1503); ambivalent and infected by what is most desired, belying

What is renounced, and the only logic of earning office—From the Este court, Bioardo translated Apuleius belaying
Stygian sleep from Psyche’s casks (VI.26); as Erichthonius, the charioteer of the Ferrante month of March offset in azurite—
A page holds Minerva's arrow and ring target, as a graven images of the earth, the snake—Capella, the sixth brightest in the sky, from Capra, the goat star—From there, the saint thwarting all efforts
To restore the stalks of her eyes (1473/1474)—Their contingency; of an offensive life, Petrarca’s twisted sword sits in its brace (Canzone 134); rather, the vegetal forte of eight
Caulicoles of the capitals Vitruvius accredited to Callimachus (VI.10)—Theseus; shown on El Grechetto’s distinct printing matrix (1643), the monotype, discovers his father’s arms, with the pyramid of Remus; it was once thought, for being raised squarely on his brother’s fence—Circe’s
Creation of the animals, trumping the sixth day’s creation of man, streams into the ark, and out from the moneychanger’s stalls—Castiglione

Imitates this adjustment, in a panoply of metal mounted by guinea pigs—With the dissolution of courtesy, the reactionary Castiglione
Judges between the claims Matteo Maria Boiardo, now a Count, inured to a 78-card Trionfi deck somewhere between 1460 and 1494—Belaying
Two lines as if they were one; Ercole d’Este’s commissions of Plautus and Terence,  Priscani abolishes the Circean
Masque with a proscenium; the players conscious of themselves, in the silhouettes of bows, as 23 Via Scandiana’s intermediary azurite—
Proportioned by Alberti in Spectacula (c.1501) for the comedy of Alfonso d'Este and Lucrezia Borgia (1502)—Confined to Bioardo’s Patience, or Psyche, with a horse (Tarocchi 5.25-27)—One palpates the heart by the 23^rd day, and then it is foaled in winter, and expected to race—Directing one’s efforts

To other decks, the atavistic 97-card Minchiate, whose 23^rd is a fox balanced precariously above quills, and threatening to consume its subsidy of air—Bearing in mind Boiardo’s eighth

Assignment, after the Triumph of (7) Anger—Ira, as one of Petrarca’s five enemies of peace, and the force behind Castiglione’s eight duplications
Of Justice, against the first angels wheeling in their azurite—Reversions, then, to the beast of Circe’s
Menagerie that does not ask if, and when it rains, and belaying efforts, if one deigns to speak of hopes, Ipse vero scit viam meam, et, si probaverit me, quasi aurum egrediar—