most of the characters are clear personifications named as their qualities, and several works by Geoffrey Chaucer, such as The House of Fame (1379–80). However, Chaucer tends to take his personifications in the direction of being more complex characters and give them different names, as when he adapts part of the French Roman de la Rose (13th century). The English mystery plays and the later morality plays have many personifications as characters, alongside their biblical figures. Frau Minne, the spirit of courtly love in German medieval literature, had equivalents in other vernaculars. In Italian literature Petrach's Triomphi, finished in 1374, is based around a procession of personifications carried on "cars", as was becoming fashionable in courtly festivities; it was illustrated by many different artists. Dante has several personification characters, but prefers using real persons to represent most sins and virtues. In Elizabethan literature many of the characters in Edmund Spenser's enormous epic The Faerie Queene, though given different names, are effectively personifications, especially of virtues. The Pilgrim's Progress (1678) by John Bunyan was the last great personification allegory in English literature, from a strongly Protestant position (though see Thomson's Liberty below). A work like Shelley's The Triumph of Life, unfinished at his death in 1822, which to many earlier writers would have called for personifications to be included, avoids them, as does most Romantic literature, apart from that of William Blake. Leading critics had begun to complain about personification in the 18th century, and such "complaints only grow louder in the nineteenth century". According to Andrew Escobedo, there is now "an unstated scholarly consensus" that "personification is a kind of frozen or hollow version of literal characters", which "depletes the fiction". Visual arts Personifications, often in sets, frequently appear in medieval art, often illustrating or following literary works. The virtues and vices were probably the most common, and the virtues appear in many large sculptural programmes, for example the exteriors of Chartres Cathedral and Amiens Cathedral. In painting, both virtues and vices are personified along the lowest zone of the walls of the Scrovegni Chapel by Giotto (c. 1305), and are the main figures in Ambrogio Lorenzetti's Allegory of Good and Bad Government (1338–39) in the Palazzo Pubblico of Siena. In the Allegory of Bad Government Tyranny is enthroned, with Avarice, Pride, and Vainglory above him. Beside him on the magistrate's bench sit Cruelty, Deceit, Fraud, Fury, Division, and War,