I've chosen one of Shakespeare's less well-known sonnets, No.24. It doesn't have the wonderful melody and inevitability of some, but I thought you'd enjoy its tough-mindedness and its engagement with new vocabulary and ideas. stelled, for instance, was a " recently introduced term ... from painting, meaning to portray or delineate" and "perspective" (pronounced with the stress on the first syllable, per) was an artistic technique presumably still considered relatively innovative and fascinating. Literally meaning "seeing through", it is perhaps the poem's keyword.
The sonnet as a form needs to be driven hard, pushed by verbal and rhythmic energy against its own rhetorical predictability. There's a sinewy, searching quality to the syntax as the poet explores his array of painterly metaphors and unfolds new "twists". Finally, all the enumerated skills of sight and depiction are called into question, though, because eyes "know not the heart"- or fail to "see through" appearances sufficiently clearly.
The closing effect is more of a dying fall than a confident chiming couplet. Perhaps the fact that the "heart/art" rhyme occurs earlier helps to mute its effect. I have borrowed the glossary from Colin Burrow's helpfully annotated OUP edition of the Complete Sonnets and Poems.
Sonnet 24
Mine eye hath play’d the painter and hath steel’d,
Thy beauty’s form in table of my heart;
My body is the frame wherein ’tis held,
And perspective it is best painter’s art.
For through the painter must you see his skill,
To find where your true image pictur’d lies,
Which in my bosom’s shop is hanging still,
That hath his windows glazed with thine eyes.
Now see what good turns eyes for eyes have done:
Mine eyes have drawn thy shape, and thine for me
Are windows to my breast, where-through the sun
Delights to peep, to gaze therein on thee;
Yet eyes this cunning want to grace their art,
They draw but what they see, know not the heart.
WILLIAM SHAKESPEARE