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diff --git a/41924-h/41924-h.htm b/41924-h/41924-h.htm index 287c3b9..30656d3 100644 --- a/41924-h/41924-h.htm +++ b/41924-h/41924-h.htm @@ -3,7 +3,7 @@ <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> - <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Revival of Learning, by John Addington Symonds. A Project Gutenberg eBook. @@ -140,47 +140,7 @@ table { <body> - - -<pre> - -The Project Gutenberg EBook of Renaissance in Italy, Volume 2 (of 7), by -John Addington Symonds - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Renaissance in Italy, Volume 2 (of 7) - The Revival of Learning - -Author: John Addington Symonds - -Release Date: January 26, 2013 [EBook #41924] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK RENAISSANCE IN ITALY, VOLUME 2 *** - - - - -Produced by Ted Garvin, Linda Cantoni, and the Online -Distributed Proofreading Team at http://www.pgdp.net - - - - - - -</pre> - - - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 41924 ***</div> <div class="notes"> <p><i>Transcriber's Note:</i> This e-book was prepared from a 1960 G.P. @@ -224,12 +184,12 @@ Es post me victura diu, meliora supersunt<br /> Secula; non omnes veniet lethaeus in annos<br /> Iste sopor; poterunt, discussis forte tenebris,<br /> Ad purum priscumque jubar remeare nepotes.<br /> -Tunc Helicona novâ revirentem stirpe videbis,<br /> +Tunc Helicona novâ revirentem stirpe videbis,<br /> Tunc lauros frondere sacras; tunc alta resurgent<br /> Ingenia atque animi dociles, quibus ardor honesti<br /> Pieridum studii veterem geminabit amorem.<br /> <br /> -<span style="margin-left: 10em"><span class="smcap">Petrarchæ</span> <i>Africa</i>, <i>lib. ix</i></span></span> +<span style="margin-left: 10em"><span class="smcap">Petrarchæ</span> <i>Africa</i>, <i>lib. ix</i></span></span> </td> </tr> </table> @@ -297,7 +257,7 @@ Latin classics. The thought that I was tracing the history of an achievement fruitful of the weightiest results for modern civilisation has sustained me in a task that has been sometimes tedious. The collective greatness of the Revival has reconciled my mind to many -trivialities of detail. The prosaic minutiæ of obscure biographies and +trivialities of detail. The prosaic minutiæ of obscure biographies and long-forgotten literary labours have been glorified by what appears to me the poetry and the romance of the whole theme. It lies not in my province or my power to offer my readers any adequate apology for such @@ -333,7 +293,7 @@ as an Aim—Want of National Architecture—Want of National Drama—Eminence of Sculpture and Painting—Peculiar Capacity for Literature—Scholarship—Men of Many-sided Genius—Their Relation to the Age—Conflict between -Mediæval Tradition and Humanism—Petrarch—The Meaning of +Mediæval Tradition and Humanism—Petrarch—The Meaning of the Revival begun by him—Cosmopolitan Philosophy—Toleration—An Intellectual Empire—Worldliness—Confusion of Impulses and Inspirations—Copernicus and Columbus—Christianity and @@ -359,7 +319,7 @@ Value of Italian Humanism—Pico on the Dignity of Man</td> </tr> <tr> <td> -Importance of the Revival of Learning—Mediæval Romance—The +Importance of the Revival of Learning—Mediæval Romance—The Legend of Faustus—Its Value for the Renaissance—The Devotion of Italy to Study—Italian Predisposition for this Labour—Scholarship @@ -368,7 +328,7 @@ Church—Piety for Virgil—Meagre Acquaintance with the Latin Classics—No Greek Learning—The Spiritual Conditions of the Middle Ages adverse to Pure Literature—Italy no Exception to the rest of Europe—Dante and Petrarch—Definition of Humanism—Petrarch's -Conception of it—His Æsthetical Temperament—His +Conception of it—His Æsthetical Temperament—His Cult for Cicero, Zeal in Collecting Manuscripts, Sense of the Importance of Greek Studies—Warfare against Pedantry and Superstition—Ideal of Poetry and Rhetoric—Critique of Jurists @@ -400,7 +360,7 @@ and Papal Charters—Foreign Students—Professorial Staff—Subjects taught in the High Schools—Place assigned to Humanism—Pay of the Professors of Eloquence—Francesco Filelfo—The Humanists less powerful at the Universities—Method -of Humanistic Teaching—The Book Market before Printing—Mediæval +of Humanistic Teaching—The Book Market before Printing—Mediæval Libraries—Cost of Manuscripts—'Stationarii' and 'Peciarii'—Negligence of Copyists—Discovery of Classical Codices—Boccaccio at Monte Cassino—Poggio at Constance—Convent @@ -519,7 +479,7 @@ Life—Translation of Homer—The 'Homericus Juvenis'—True Genius in Poliziano—Command of Latin and Greek—Resuscitation of Antiquity in his own Person—His Professorial Work—The 'Miscellanea'—Relation to Medici—Roman Scholarship -in this Period—Pius II.—Pomponius Lætus—His Academy<span class="pagenum"><a name="Page_xiii" id="Page_xiii">-xiii-</a></span> +in this Period—Pius II.—Pomponius Lætus—His Academy<span class="pagenum"><a name="Page_xiii" id="Page_xiii">-xiii-</a></span> and Mode of Life—Persecution under Paul II.—Humanism at Naples—Pontanus—His Academy—His Writings—Academies established in all Towns of Italy—Introduction of @@ -545,7 +505,7 @@ Ideal of Life and Manners—Latinisation of Names—Classical Periphrases—Latin Epics on Christian Themes—Paganism—The Court of Leo X.—Honours of the Church given to Scholars—Ecclesiastical -Men of the World—Mæcenases at Rome—Papal and +Men of the World—Mæcenases at Rome—Papal and Imperial Rome—Moral Corruption—Social Refinement—The Roman Academy—Pietro Bembo—His Life at Ferrara—At Urbino—Comes to Rome—Employed by Leo—Retirement to @@ -577,7 +537,7 @@ the Sufferings of Scholars</td> <tr> <td>Special Causes for the Practice of Latin Versification in Italy—The Want of an Italian Language—Multitudes of Poetasters—Becca<span class="pagenum"><a name="Page_xiv" id="Page_xiv">-xiv-</a></span>delli—Alberti's -'Philodoxus'—Poliziano—The 'Sylvæ'—'Nutricia,' +'Philodoxus'—Poliziano—The 'Sylvæ'—'Nutricia,' 'Rusticus,' 'Manto,' 'Ambra'—Minor Poems—Pontano—Sannazzaro—Elegies and Epigrams—Christian Epics—Vida's 'Christiad'—Vida's 'Poetica'—Fracastoro—The @@ -610,7 +570,7 @@ of Humanism into the Church—Irreligion of the Humanists—Gyraldi's 'Progymnasma'—Ariosto—Bohemian Life—Personal Immorality—Want of Fixed Principles—Professional Vanity—Literary Pride—Estimate of Humanistic Literature—Study of -Style—Influence of Cicero—Valla's 'Elegantiæ'—Stylistic Puerilities—Value +Style—Influence of Cicero—Valla's 'Elegantiæ'—Stylistic Puerilities—Value attached to Rhetoric—'Oratore'—Moral Essays—Epistolography—Histories—Critical and Antiquarian Studies—Large @@ -639,7 +599,7 @@ Intellect—Self-culture as an Aim—Want of National Architecture—Want of National Drama—Eminence of Sculpture and Painting—Peculiar Capacity for Literature—Scholarship—Men of Many-sided Genius—Their -Relation to the Age—Conflict between Mediæval Tradition and +Relation to the Age—Conflict between Mediæval Tradition and Humanism—Petrarch—The Meaning of the Revival begun by him—Cosmopolitan Philosophy—Toleration—An Intellectual Empire—Worldliness—Confusion of Impulses and @@ -669,7 +629,7 @@ forming an united<span class="pagenum"><a name="Page_2" id="Page_2">-2-</a></spa coherence; of maintaining a powerful military system, or of holding her own against the French and Spaniards. For these defects her Communes and her Despots, the Papacy and the kingdom of Naples, the -theories of the mediæval doctrinaires and the enthusiasm of the +theories of the mediæval doctrinaires and the enthusiasm of the humanists, were alike responsible; though the larger share belongs to Rome, resolutely hostile to the monarchical principle, and zealous, by espousing the Guelf faction, to maintain the discord of the nation. At @@ -817,7 +777,7 @@ historians, statisticians, critics, and poets. Culture, in the highest and widest sense of the word, was what Renaissance Italy obtained and gave to Europe; and this culture implies a full-formed personality in the men who seek it. It was the highly perfected individuality of the<span class="pagenum"><a name="Page_7" id="Page_7">-7-</a></span> -Italians that made them first emerge from mediæval bondage and become +Italians that made them first emerge from mediæval bondage and become the apostles of humanism for the modern world. It may be regretted that their force was expended upon the diffusion of learning and the purification of style, instead of being concentrated on the creation @@ -853,7 +813,7 @@ therefore less struck with the versatility than with the concentration of Pheidias, Pindar, Sophocles, Socrates. Italy, on the other hand, had for her task the reabsorption of a bygone culture. It was her vocation to resuscitate antiquity, to gather up afresh the products of -the classic past, and so to blend them with the mediæval spirit as to +the classic past, and so to blend them with the mediæval spirit as to generate what is specifically modern. It was indispensable that the men by whom this work was accomplished should be no less distinguished for largeness of intelligence, variety of acquirements, quickness of @@ -861,7 +821,7 @@ sympathy, and sensitive susceptibility, than for the complete development of some one faculty. The great characters of the Greek age were what Hegel calls plastic, penetrated through and through with a specific quality. Those of the Italian age were comprehensive and -encyclopædic; the intensity of their force in any one sphere is less +encyclopædic; the intensity of their force in any one sphere is less remarkable than its suitableness to all. They were of a nature to synthesise, interpret, reproduce, and mould afresh—like Mr. Browning's Cleon, with the addition of the consciousness of young and @@ -902,7 +862,7 @@ religion of the Middle Ages, their second in the schools of Greece and Rome. It was the many-sided struggle of personal character with time-honoured tradition on the one hand, and with new ideals on the other, that lent so much of inconsistency and contradiction to their -aims. Dante remained within the pale of mediæval thoughts, and gave +aims. Dante remained within the pale of mediæval thoughts, and gave them full poetical expression. To him, in a truer sense than to any other poet, belongs the double glory of immortalising in verse the centuries behind him, while he inaugurated the new age.<span class="pagenum"><a name="Page_10" id="Page_10">-10-</a></span> The 'Vita @@ -911,7 +871,7 @@ the first complete analysis of personal emotion, and the other is the epic of the soul conceived as concrete personality. But the form and colour, the material and structure, the warp of thought and the woof of fancy, are not modern. Petrarch opens a new era. He is not -satisfied with the body of mediæval beliefs and intellectual +satisfied with the body of mediæval beliefs and intellectual conceptions. Antiquity presents a more fascinating ideal to his spirit, and he feels the subjectivity within him strong enough to assimilate what suits it in the present and the past. The Revival of @@ -949,7 +909,7 @@ united nation, in proportion as the military instincts died in her, and the political instincts were extinguished by despotism, in precisely the same ratio did she evermore acquire a deeper sense of her intellectual vocation. What was world-embracing in the spirit of -the mediæval Church passed by transmutation into the humanism of the +the mediæval Church passed by transmutation into the humanism of the fifteenth century. As though aware of the hopelessness of being Italians in the same sense as the natives of Spain were Spaniards, or the natives of France were Frenchmen, the giants of the Renaissance @@ -970,11 +930,11 @@ Lutherans broke into Parmegiano's workshop at Rome, even they were awed by the tranquil<span class="pagenum"><a name="Page_12" id="Page_12">-12-</a></span> majesty of the Virgin on his easel. Stories like these remind us that Renaissance Italy met her doom of servitude and degradation in the spirit of ancient Hellas, repeating as they do the -tales told of Archimedes in his study, and of Paulus Æmilius face to +tales told of Archimedes in his study, and of Paulus Æmilius face to face with the Zeus of Pheidias.</p> <p>As patriotism gave way to cosmopolitan enthusiasm, and toleration took -the place of earnestness, in like manner the conflict of mediæval +the place of earnestness, in like manner the conflict of mediæval tradition with revived Paganism in the minds of these self-reliant men, trained to indulgence by their large commerce with the world, and familiarised with impiety by the ever-present pageant of an @@ -1026,7 +986,7 @@ yet tamed from semi-savagery into acquiescence by experience. Experience came to the Italians in servitude beneath the heel of Spain.</p> -<p>The confusion of influences, classical and mediæval, Christian and +<p>The confusion of influences, classical and mediæval, Christian and Pagan, in that age is not the least extraordinary of its phenomena. Even the new thoughts that illuminated the minds of great discoverers, seemed to them like reflections from antiquity; and while they were @@ -1068,11 +1028,11 @@ sustained him to the conviction that God was leading him to a great end. 'When I first undertook to start for the discovery of the Indies,' he says in his will, 'I intended to beg the King and Queen to devote the whole of the money that might be drawn from these realms to -Jerusalem.' The religious yearning of the mediæval pilgrim added +Jerusalem.' The religious yearning of the mediæval pilgrim added fervour to the conviction of the student, who, by reasoning on antique texts, guessed the greatest secret of which the world has record. At the same time there was something more in Columbus than either -antiquity or mediævalism could provide. The modern spirit is distinct +antiquity or mediævalism could provide. The modern spirit is distinct from both; and though, in the Renaissance, creation wore the garb of imitation, and the new forces used the organs they were destined to outlive and destroy, yet we must allow to native personality the @@ -1095,7 +1055,7 @@ true vocation; art and erudition were sufficient to engage her spiritual energies. The Church again, though by no means adverse to laxity in morals, was jealous of heterodoxy. So long as freethinkers confined their audacity to such matters as form the topic of Poggio's -'Facetiæ,' Beccadelli's 'Hermaphroditus,' or La Casa's 'Capitolo del +'Facetiæ,' Beccadelli's 'Hermaphroditus,' or La Casa's 'Capitolo del Forno,' the Roman Curia looked on and smiled approvingly. The most obscene books to be found in any literature escaped the Papal censure, and Aretino, notorious for ribaldry, aspired not wholly without reason @@ -1166,7 +1126,7 @@ That I may love Thee, Lord, alone, Thee, King of kings, for ever. <p>This is but a poor substitute for the Lord's Prayer. Hell and purgatory are out of place in its theism. <span lang="grc" title="Greek: Chrysothronos">Χρυσόθρονος</span> and -<span lang="grc" title="Greek: aitheri naiôn">αἴθερι ναίων</span> are tawdry epithets for 'Our Father which art +<span lang="grc" title="Greek: aitheri naiôn">αἴθερι ναίων</span> are tawdry epithets for 'Our Father which art in heaven.' Yet it is precisely in these contradictions and confusions that we trace the sincerity of the Renaissance spirit, seeking to fuse together the vitality of the old faith and the forms of novel culture, @@ -1225,7 +1185,7 @@ of genius.</p> Renaissance, it is only needful to study the picture galleries of Florence or of Venice with special attention to the portraits they contain. When we compare those senators and sages with the subjects of -Dürer's and of Cranach's art, we feel the physical superiority of the +Dürer's and of Cranach's art, we feel the physical superiority of the Italians. In like<span class="pagenum"><a name="Page_20" id="Page_20">-20-</a></span> manner a comparison of the men of the fifteenth century with those of the sixteenth shows how much of that physical grandeur had been lost. It is easy to wander astray while weaving @@ -1260,7 +1220,7 @@ exercises formed a part of education no less indispensable than mental training. Great cities had open places set apart for tournaments and games; in Tuscan burghs the <i>palio</i> was run on feast days, and May mornings saw the prentice lads of Florence tilting beneath the smiles -of girls who danced at nightfall on the square of Santa Trinità. +of girls who danced at nightfall on the square of Santa Trinità . Bloody battles in the streets were frequent. The least provocation caused a man to draw his dagger. Combats <i>a steccato chiuso</i> were among the pastimes to which a Pope might lend his countenance. Skill @@ -1320,7 +1280,7 @@ ancient Greeks by far excelled us Italians in humanity and gentleness of heart.' Yet what Greek poem can be compared for tenderness with Dante's 'Vita Nuova,' with the 'Canzoniere' of Petrarch, or with the tale of Griselda in Boccaccio? <i>Gentilezza di cuore</i> was the most -characteristic product of chivalry, and the fourth Æneid is the only +characteristic product of chivalry, and the fourth Æneid is the only classic masterpiece of pure romantic pathos. This humility of discipleship was not, however, strong enough to check emulation. On the contrary, the yearning towards antiquity acted like a potent @@ -1350,7 +1310,7 @@ son, ranked higher in esteem than Cimabue, the Florentine citizen, because his work of art was worthier. Petrarch had his place in no official capacity, but as an honoured equal, at the marriage feasts of princes. Poliziano corresponded with kings, promising immortality as a -more than regal favour. Pomponius Lætus could afford to repel the +more than regal favour. Pomponius Lætus could afford to repel the advances of the Sanseverini, feeling that erudition ranked him higher than his princely kinsmen. It was not wealth or policy alone that raised the Medici among the Despots so far above the Baglioni of @@ -1400,11 +1360,11 @@ Arise and spring up honour. </tr> </table> -<p>The virtue here described bears the Italian sense of <i>virtù</i>, the -Latin <i>virtus</i>, the Greek <span lang="grc" title="Greek: aretê">ἀρετή</span>, that which makes a man. It +<p>The virtue here described bears the Italian sense of <i>virtù</i>, the +Latin <i>virtus</i>, the Greek <span lang="grc" title="Greek: aretê">ἀρετή</span>, that which makes a man. It might display itself in a thousand ways; but all alike brought honour, and honour every man was bound to seek. The standard whereby the -Italians judged this virtue was æsthetical rather than moral. They +Italians judged this virtue was æsthetical rather than moral. They were too dazzled by brilliant achievement to test it in the crucible of ethics. This is the true key to Machiavelli's critique of Castruccio Castracane, Gianpaolo Baglioni, Cesare Borgia, and Piero @@ -1417,7 +1377,7 @@ through crime.</p> <p>The thirst for glory and the worship of ability stimulated the Italians, earlier than any other nation, to commemorate what seemed to them noteworthy in their own lives and in those of their -contemporaries. Dante, within the pale of mediævalism, led the way in +contemporaries. Dante, within the pale of mediævalism, led the way in both of these directions. His 'Vita Nuova' is a chapter of autobiography restrained within the limits of consummate art. His portraits of S. Francis and S. Dominic (not to mention other @@ -1466,7 +1426,7 @@ whole of this literature implies an intense self-consciousness in the nation, an ardent interest in men as men, because of the specific virtue to be found in each. The spirit, therefore, in which these authors of the Renaissance approached their task was wholly different -from that which induced the mediæval annalist to register the miracles +from that which induced the mediæval annalist to register the miracles of saints, to chronicle the princes of some dynasty or the abbots of a convent. Nor had it much in common with the mythologising enthusiasm of romantic poets. The desire for edification and the fire of fancy @@ -1497,7 +1457,7 @@ for lasting recollection in his lines about the planet Mercury:<a name="FNanchor <td> <span lang="ita">Questa picciola stella si correda<br /> De' buoni spirti, che son stati attivi,<br /> -Perchè onore e fama gli succeda.</span> +Perchè onore e fama gli succeda.</span> </td> </tr> </table> @@ -1573,7 +1533,7 @@ thyself without virtue'—these words carried such weight, and sank so deeply into the young man's heart, that, smitten with the love of learning, he forsook his boon companions, engaged Pontano as house-tutor at a salary of one hundred golden florins, and spent his -leisure time in learning Livy and the 'Æneid' by heart.<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a> What he +leisure time in learning Livy and the 'Æneid' by heart.<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a> What he sought he gained; his name is still recorded, now that not only the bloom of youth, but life itself has passed away, and he has slept for nearly four centuries in Florentine earth. Yet we, no less wearied of @@ -1711,7 +1671,7 @@ self-determination severed from both brutes and angels, than the following passage from Pico della Mirandola's 'Oration on the Dignity of Man.' It combines antique liberty of thought with Christian faith in a style distinctive of the Renaissance at its best; nor is its note -of mediæval cosmology uncharacteristic of an age that divined as yet +of mediæval cosmology uncharacteristic of an age that divined as yet more than it firmly grasped the realities of modern science. Here, if anywhere, may be hailed the Epiphany of the modern spirit, contraposing God and man in a relation inconceivable to the ancients, @@ -1756,7 +1716,7 @@ imperfect.</p> <span class="sm">FIRST PERIOD OF HUMANISM</span></h2> <div class="blockquot"> -<p>Importance of the Revival of Learning—Mediæval Romance—The +<p>Importance of the Revival of Learning—Mediæval Romance—The Legend of Faustus—Its Value for the Renaissance—The Devotion of Italy to Study—Italian Predisposition for this Labour—Scholarship in the Dark Ages—Double Attitude @@ -1765,7 +1725,7 @@ with the Latin Classics—No Greek Learning—The Spiritual Conditions of the Middle Ages adverse to Pure Literature—Italy no exception to the rest of Europe—Dante and Petrarch—Definition of Humanism—Petrarch's Conception -of it—His Æsthetical Temperament—His Cult for Cicero, Zeal +of it—His Æsthetical Temperament—His Cult for Cicero, Zeal in collecting Manuscripts, Sense of the Importance of Greek Studies—Warfare against Pedantry and Superstition—Ideal of Poetry and Rhetoric—Critique of Jurists and Schoolmen—S. @@ -1801,19 +1761,19 @@ Ages, but it also restored self-confidence to the reason of humanity. Research and criticism began to take the place of scholastic speculation. Positive knowledge was substituted for the intuitive guesses of idealists and dreamers. The interests of this world -received their due share of attention, and the <i>litteræ humaniores</i> of +received their due share of attention, and the <i>litteræ humaniores</i> of the student usurped upon the <i>divinarum rerum cognitio</i> of theologians.</p> <p>All through the Middle Ages uneasy and imperfect memories of Greece and Rome had haunted Europe. Alexander, the great conqueror; Hector, the noble knight and lover; Helen, who set Troy town on fire; Virgil, -the magician; Dame Venus lingering about the hill of Hörsel—these +the magician; Dame Venus lingering about the hill of Hörsel—these phantoms, whereof the positive historic truth was lost, remained to sway the soul and stimulate desire in myth and saga. Deprived of actual knowledge, imagination transformed what it remembered of the classic age into romance. The fascination exercised by these dreams of -a half-forgotten past over the mediæval fancy expressed itself in the +a half-forgotten past over the mediæval fancy expressed itself in the legend of Doctor Faustus. That legend tells us what the men upon the eve of the Revival longed for, and what they dreaded, when they turned their minds towards the past. The secret of enjoyment and the source @@ -1839,7 +1799,7 @@ the labour of the scholar, sang to the new age. The pomp of the empires of the old world was restored in the pages of historians. The indestructible beauty of Greek art, whereof Helen was an emblem, became, through the discovery of classic poetry and sculpture, the -possession of the modern world. Mediævalism took this Helen to wife, +possession of the modern world. Mediævalism took this Helen to wife, and their offspring, the Euphorion of Goethe's drama, is the spirit of the modern world. But how was this effected? By long and toilsome study, by the accumulation of MSS., by the acquisition of dead @@ -1869,7 +1829,7 @@ suppressed originality of style. The force of mind which in the fourteenth century had produced a 'Divine Comedy' and a 'Decameron,' in the fifteenth was expended upon the interpretation of codices, the settlement of texts, the translation of Greek books into Latin, the -study of antiquities, the composition of commentaries, encyclopædias, +study of antiquities, the composition of commentaries, encyclopædias, dictionaries, ephemerides. While we regret this change from creative to acquisitive literature, we must bear in mind that those scholars who ought to have been poets accomplished nothing less than the @@ -1890,14 +1850,14 @@ had received the staple of its intellectual education.</p> energy in the task of scholarship was no less natural to the Italians than necessary for the world at large. The Italians were not a new nation like the Franks and Germans. Nothing is more remarkable in the -mediæval history of Italy than the sense, shared alike by poets and +mediæval history of Italy than the sense, shared alike by poets and jurists, by the leaders of popular insurrections and the moulders of philosophic thought, that the centre of national vitality existed in the Roman Empire. It was this determination to look backward rather than forward, to trust the past rather than the present, that neutralised the forces of the Lombard League, and prevented the communes from asserting their independence face to face with -foreigners who claimed to be the representatives of Cæsar. The +foreigners who claimed to be the representatives of Cæsar. The Italians, unlike any other European people, sacrificed the reality of political freedom for the idea of majesty and glory, to be recovered by the restitution of the Empire. Guelf and Ghibelline coincided in @@ -1909,12 +1869,12 @@ source of national greatness. The language of modern Italy was known to be a scion of the Latin speech, and the Italians called themselves <i>Latini</i>. The attempt to conform their literature to the Roman type was therefore felt to be but a return to its true standard; the -'Æneid' of Virgil was their <i>Nibelungen-Lied</i>. Thus the humanistic +'Æneid' of Virgil was their <i>Nibelungen-Lied</i>. Thus the humanistic enthusiasm of the fifteenth century assumed an almost patriotic character. In it, moreover, the doctrine that had ruled the Middle Ages, interrupting political cohesion without acquiring<span class="pagenum"><a name="Page_42" id="Page_42">-42-</a></span> the consistency of fact, attained at last its proper sphere of -development. The ideal of Dante in the 'De Monarchiâ' had proved a +development. The ideal of Dante in the 'De Monarchiâ' had proved a baseless dream; no emperor was destined to take his seat in Rome and sway the world. But the ideal of Petrarch was realised; the scholars, animated by his impulse, reacquired the birthright of culture which @@ -1929,7 +1889,7 @@ scholarship during the dark ages. To underrate the achievement of that period, especially in logic, theology, and law, is only too easy, seeing that a new direction was given to the mind of Europe by the Renaissance, and that we have moved continuously on other lines to -other objects since the opening of the fifteenth century. Mediæval +other objects since the opening of the fifteenth century. Mediæval thought was both acute and strenuous in its own region of activity. What it lacked was material outside the speculative sphere to feed upon. Culture, in our sense of the word, did not exist, and the @@ -2038,7 +1998,7 @@ service for S. Paul's Day used at Mantua:<a name="FNanchor_15_15" id="FNanchor_1 <td> <span lang="lat">Ad Maronis mausoleum<br /> Ductus, fudit super eum<br /> -<span style="margin-left: 3em;">Piæ rorem lacrymæ;</span><br /> +<span style="margin-left: 3em;">Piæ rorem lacrymæ;</span><br /> Quem te, inquit, reddidissem<br /> Si te vivum invenissem,<br /> <span style="margin-left: 3em;">Poetarum maxime!</span></span> @@ -2104,7 +2064,7 @@ suited to the meagre intellectual conditions of the Middle Ages than the masterpieces of the Augustan and Silver periods.</p> <p>Of Greek there was absolutely no tradition left.<a name="FNanchor_17_17" id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a> When the names of -Greek poets or philosophers are cited by mediæval authors, it is at +Greek poets or philosophers are cited by mediæval authors, it is at second hand from Latin sources; and the Aristotelian logic of the schoolmen came through Latin translations made by Jews from Arabian MSS. Occasionally it might happen that a Western scholar acquired @@ -2113,7 +2073,7 @@ but this did not imply Hellenic culture, nor did such knowledge form a part and parcel of his erudition. Greek was hardly less lost to Europe then than Sanskrit in the first half of the eighteenth century.</p> -<p>The meagreness of mediæval learning was, however, a less serious +<p>The meagreness of mediæval learning was, however, a less serious obstacle to culture than the habit of mind, partly engendered by Christianity and partly idiosyncratic to the new races, which prevented students from appreciating the true spirit of the classics. @@ -2145,7 +2105,7 @@ attempt at a revival of learning was due to Charlemagne at Aix, the second to the Emperor Frederick in Apulia and Sicily; and while the Romance nations had lost the classical tradition, it was still to some extent preserved by the Moslem dynasties. The more we study the -history of mediæval learning, the more we recognise the debt of +history of mediæval learning, the more we recognise the debt of civilised humanity to the Arabs for their conservation and transmission of Greek thought in altered form to Europe. Yet, though the Italians came comparatively late into the field, their action was @@ -2190,7 +2150,7 @@ recover the culture of the ancient world. The current of Dante's genius took the contrary direction. Borne upon its mighty flood, we visit the lands and cities of the Middle Ages, floating toward infinities divined and made the heritage of human nature by the -mediæval spirit.</p> +mediæval spirit.</p> <p>In speaking of Petrarch here, it is necessary to concentrate attention upon his claims to be considered as the apostle of scholarship, the @@ -2225,7 +2185,7 @@ despotism, partly an attempt to find the point of unity for all that had been thought and done by man, within the mind restored to consciousness of its own sovereign faculty. Hence the single-hearted devotion to the literature of Greece and Rome that marks the whole -Renaissance era. Hence the watchword of that age, the <i>Litteræ +Renaissance era. Hence the watchword of that age, the <i>Litteræ Humaniores</i>. Hence the passion for antiquity, possessing thoughtful men, and substituting a new authority for the traditions of the Church. Hence the so-called Paganism of centuries bent upon absorbing @@ -2240,7 +2200,7 @@ preferred to remain fools for Christ's sake.</p> Petrarch intuitively. It belonged to his nature as much as music to Mozart; so that he seemed sent into the world to raise, by the pure exercise of innate faculties, a standard for succeeding workers. -Physically and æsthetically, by the fineness of his ear for verbal +Physically and æsthetically, by the fineness of his ear for verbal harmonies, and by the exquisiteness of his sensibilities, he was fitted to divine what<span class="pagenum"><a name="Page_53" id="Page_53">-53-</a></span> it took centuries to verify. While still a boy, long before he could grasp the meaning of classical Latin, he used to @@ -2419,7 +2379,7 @@ of existence and the dreamland of his study, he hailed in Rienzi the restorer of old Rome, while he stigmatised his friends the Colonnesi as barbarian intruders.<a name="FNanchor_36_36" id="FNanchor_36_36"></a><a href="#Footnote_36_36" class="fnanchor">[36]</a> The Rome he read of in the pages of Livy, seemed to the imagination of this visionary still alive and powerful; -nor did he feel the absurdity of addressing the mediæval rabble of the +nor did he feel the absurdity of addressing the mediæval rabble of the Romans in phrases high-flown for a Gracchus.<a name="FNanchor_37_37" id="FNanchor_37_37"></a><a href="#Footnote_37_37" class="fnanchor">[37]</a> While he courted the intimacy of the Correggi, and lived as a house-guest with the Visconti, he denounced these princes as tyrants, and appealed to the @@ -2550,7 +2510,7 @@ friendship established between the poet of Vaucluse and the lover of Fiammetta lasted through more than twenty years, and was only broken by the death of the former. Throughout this long space of time Boccaccio retained the attitude of a humble scholar, while in his -published works, the 'Genealogiâ Deorum' and the 'Comento sopra i +published works, the 'Genealogiâ Deorum' and the 'Comento sopra i Primi Sedici Capitoli dell' "Inferno" di Dante,' he uniformly spoke of Petrarch as his father and his teacher, the wonder of the century, a heavenly poet better fitted to be numbered with the giants of the past @@ -2624,8 +2584,8 @@ Penes enim te primo gustavi Cereris farinam,<br /> Die illo, quando me cepisti in bene facto viridario;<br /> Et me transtulisti procul ferens patreque amicisque<br /> Lemnon ad gloriosam. Hecatombium autem honorem inveni,<br /> -Nunc autem læsus ter tot ferens. Dies autem mihi est<br /> -Hæc duodecima, quando ad Ilion veni<br /> +Nunc autem læsus ter tot ferens. Dies autem mihi est<br /> +Hæc duodecima, quando ad Ilion veni<br /> Multa passus. Nunc iterum me in tuis manibus posuit<br /> Fatum destructibile. Debeo odio esse Jovi patri,<br /> Qui me tibi iterum dedit, medio cuique, me mater<br /> @@ -2655,7 +2615,7 @@ antiquarian research.</p> <p><span class="pagenum"><a name="Page_69" id="Page_69">-69-</a></span></p> <p>One very important part of Petrarch's programme was eloquently supported by Boccaccio. The fourteenth and fifteenth books of the -'Genealogiâ Deorum' form what may be termed the first defence of +'Genealogiâ Deorum' form what may be termed the first defence of poesy, composed in honour of his own art by a poet of the modern world. In them Boccaccio expounds a theory already sketched in outline by Petrarch. We have seen that the worst obstacle to humanistic @@ -2671,12 +2631,12 @@ the Holy Ghost may be called a Poet, inasmuch as He used the vehicle of symbol in the visions of the prophets and the Revelation of S. John.<a name="FNanchor_55_55" id="FNanchor_55_55"></a><a href="#Footnote_55_55" class="fnanchor">[55]</a> To such strained arguments was the apostle of culture driven in order to persuade his hearers, and to drag literature from the -Avernus of mediæval neglect. We must not, however, imagine that +Avernus of mediæval neglect. We must not, however, imagine that Boccaccio was himself superior to a point of view so puerile. Allegory appeared to him a necessary condition of art: only a madman could deny -the hidden meaning of the 'Georgics' and the 'Æneid;'<a name="FNanchor_56_56" id="FNanchor_56_56"></a><a href="#Footnote_56_56" class="fnanchor">[56]</a> while the +the hidden meaning of the 'Georgics' and the 'Æneid;'<a name="FNanchor_56_56" id="FNanchor_56_56"></a><a href="#Footnote_56_56" class="fnanchor">[56]</a> while the verses of Dante and of Petrarch owed their value to the Christian -mysteries they shrouded. The poet, according to this mediæval +mysteries they shrouded. The poet, according to this mediæval philosophy of literature, was a sage and teacher<span class="pagenum"><a name="Page_70" id="Page_70">-70-</a></span> wrapping up his august meanings in delightful fictions.<a name="FNanchor_57_57" id="FNanchor_57_57"></a><a href="#Footnote_57_57" class="fnanchor">[57]</a> Though the common herd despised him as a liar and a falsehood-fabricator, he was, in truth, a @@ -2696,7 +2656,7 @@ approach the masterpieces of classic literature without fearing the seductions of the Siren.</p> <p>This argument, forming the gist of the 'Apology for Poetry' in the -'Genealogiâ Deorum,' is repeated in the 'Comment upon Dante.' It is +'Genealogiâ Deorum,' is repeated in the 'Comment upon Dante.' It is doubly interesting, both as showing the popular opinion of poetry and the prejudices Boccaccio thought it needful to attack, and also as containing a full exposition of the allegorising theories with which @@ -2727,7 +2687,7 @@ Boccaccio begins by invoking Dame Venus and ends with earthly love, <i>Il Sior di tutta pace</i>.</p> <p>The name given to Boccaccio by contemporaries, <i>Giovanni della -Tranquillità</i>, sufficiently indicates his peaceful temperament. He +Tranquillità </i>, sufficiently indicates his peaceful temperament. He was, in fact, the scholar, working in his study, and contributing to the erudition of his age by writings. Another of Petrarch's disciples, Giovanni Malpaghino, called from his birthplace Giovanni da Ravenna, @@ -2784,7 +2744,7 @@ Ravenna deserves, therefore, to be honoured as the link between the age of Petrarch and the age of Poggio, as the vessel chosen for communicating the sacred fire of humanism to the Courts and Republics of Italy. None but a wanderer, <i>vagus quidam</i>, as Petrarch, half in -scorn and half in sorrow, called his protégé, could so effectually +scorn and half in sorrow, called his protégé, could so effectually have carried on the work of propagation.<a name="FNanchor_59_59" id="FNanchor_59_59"></a><a href="#Footnote_59_59" class="fnanchor">[59]</a></p> <p>The name of the next student claiming our attention as a disciple of @@ -2909,7 +2869,7 @@ Poggio, theirs is heavy and uncouth; while that of Poggio seems barbarous by the side of Poliziano's, and Poliziano in turn yields the palm of mere correctness to Bembo. It was only by degrees that the taste of the Italians formed itself, and that facility was acquired in -writing a lost language. The fact that mediæval Latin was still used +writing a lost language. The fact that mediæval Latin was still used in legal documents, in conversation, in the offices of the Church, and in the theological works which formed the staple of all libraries, impeded the recovery of a classic style. When the Italians had finally @@ -2927,7 +2887,7 @@ attention to the cult of Cicero in Italy. It is now necessary to mention the advent of a man who played a part in the revival of learning only second to that of Petrarch. Manuel Chrysoloras, a Byzantine of noble birth, came to Italy during the Pontificate of -Boniface IX., charged by the Emperor Palæologus with the mission of +Boniface IX., charged by the Emperor Palæologus with the mission of attempting to arm the states of Christendom against the Turk. Like all the Greeks who visited Western Europe, Chrysoloras first alighted in Venice; but the Republic of the Lagoons neither understood the secret @@ -3025,9 +2985,9 @@ from actual study of the masterpieces of the Attic authors. The world was no longer to be kept in ignorance of those 'eternal consolations' of the human race. No longer could the scribe omit Greek quotations from his Latin text with the dogged snarl of obtuse -self-satisfaction—<i>Græca sunt, ergo non legenda</i>. The motto had +self-satisfaction—<i>Græca sunt, ergo non legenda</i>. The motto had rather to be changed into a cry of warning for ecclesiastical -authority upon the verge of dissolution—<i>Græca sunt, ergo +authority upon the verge of dissolution—<i>Græca sunt, ergo periculosa</i>: since the reawakening faith in human reason, the reawakening belief in the dignity of man, the desire for beauty, the liberty, audacity, and passion of the Renaissance, received from Greek @@ -3051,7 +3011,7 @@ Staff—Subjects taught in the High Schools—Place assigned to Humanism—Pay of the Professors of Eloquence—Francesco Filelfo—The Humanists less powerful at the Universities—Method of Humanistic Teaching—The Book Market -before Printing—Mediæval Libraries—Cost of +before Printing—Mediæval Libraries—Cost of Manuscripts—<i>Stationarii</i> and <i>Peciarii</i>—Negligence of Copyists—Discovery of Classical Codices—Boccaccio at Monte Cassino—Poggio at Constance—Convent of S. Gallen—Bruni's @@ -3163,7 +3123,7 @@ the reports extracted by Tiraboschi from their registers. At Vicenza, for example, in 1209<span class="pagenum"><a name="Page_87" id="Page_87">-87-</a></span> we find the names of Bohemians, Poles, Frenchmen, Burgundians, Germans, and Spaniards, as well as of Italians of divers towns. The rectors of this <i>studio</i> in 1205 included an -Englishman, a Provençal, a German, and a Cremonese. The list of +Englishman, a Provençal, a German, and a Cremonese. The list of illustrious students at Bologna between 1265 and 1294 show men of all the European nationalities, proving that the foreigners attracted by the university must have formed no inconsiderable element in the whole @@ -3292,7 +3252,7 @@ doctrine, to sketch his biography, and to give some account of his relation to the history of his country and to his predecessors in the field of letters. In short, the professor of rhetoric had to be a grammarian, a philologer, an historian, a stylist, and a sage in one. -He was obliged to pretend at least to an encyclopædic knowledge of the +He was obliged to pretend at least to an encyclopædic knowledge of the classics, and to retain whole volumes in his memory. All these requirements, which seem to have been satisfied by such men as Filelfo and Poliziano, made the profession of eloquence—for so the varied @@ -3303,7 +3263,7 @@ before them, sat patiently recording what the lecturer said. At the end of his discourses on the 'Georgics' or the 'Verrines,' each of them carried away a compendious volume, containing a transcript of the author's text, together with a miscellaneous mass of notes, critical, -explanatory, ethical, æsthetical, historical, and biographical. In +explanatory, ethical, æsthetical, historical, and biographical. In other words, a book had been dictated, and as many scores of copies as there were attentive pupils had been made.<a name="FNanchor_86_86" id="FNanchor_86_86"></a><a href="#Footnote_86_86" class="fnanchor">[86]</a> The<span class="pagenum"><a name="Page_92" id="Page_92">-92-</a></span> language used was Latin. No dialect of Italian could have been intelligible to the @@ -3350,7 +3310,7 @@ boast copies of Boethius, Priscian, the 'Code of Justinian,' the 'Decretals,' and the 'Etymology' of Isidorus, besides a Bible and some devotional treatises.<a name="FNanchor_89_89" id="FNanchor_89_89"></a><a href="#Footnote_89_89" class="fnanchor">[89]</a> This slender stock passed for great riches. Each of the precious volumes in such a collection was an epitome of -mediæval art. Its pages were composed of fine vellum adorned with +mediæval art. Its pages were composed of fine vellum adorned with pictures.<a name="FNanchor_90_90" id="FNanchor_90_90"></a><a href="#Footnote_90_90" class="fnanchor">[90]</a> The initial letters displayed elaborate flourishes and exquisitely illuminated groups of figures. The scribe took pains to render his caligraphy perfect, and to ornament the margins with @@ -3539,7 +3499,7 @@ at once, that at least I may set eyes on it before I die.'</p> <p>In addition to the authors named above, Poggio discovered and copied with his own hand MSS. of Lucretius and Columella. Silius Italicus, Manillas, and Vitruvius owed their resurrection to his industry. At -Langres he found a copy of Cicero's oration for Cæcina; at Monte +Langres he found a copy of Cicero's oration for Cæcina; at Monte Cassino a MS. of Frontinus. Ammianus Marcellinus, Nonius Marcellus, Probus, Flavius Caper, and Eutyches are also to be ranked among the captives freed by him from slavery. In exploring foreign convents @@ -3553,12 +3513,12 @@ negotiations with a monk for the fraudulent abduction of an Ammianus and a Livy from a convent library in Hersfeld.<a name="FNanchor_99_99" id="FNanchor_99_99"></a><a href="#Footnote_99_99" class="fnanchor">[99]</a><span class="pagenum"><a name="Page_101" id="Page_101">-101-</a></span> Not unfrequently his most golden anticipations with regard to literary treasures were deceived, as when a Dane appeared at the Court of Martin V. bragging -of a complete Livy to be found in a Cistercian convent near Röskilde. +of a complete Livy to be found in a Cistercian convent near Röskilde. This man protested he had seen the MS., and described the characters in which it was written with some minuteness. At Poggio's instance the Cardinal Orsini sent off a special messenger to seek for this, which would have been the very phœnix of MSS. to the Latinists of that -period, while Cosimo de' Medici put his agents at Lübeck to work for +period, while Cosimo de' Medici put his agents at Lübeck to work for the same purpose. All their efforts were in vain, however. The Livy could not be discovered, and the Dane passed for a liar, in spite of the corroboration his story received from another traveller.<a name="FNanchor_100_100" id="FNanchor_100_100"></a><a href="#Footnote_100_100" class="fnanchor">[100]</a> @@ -3718,10 +3678,10 @@ displayed by this barber's son exalted to a place among the princes. Not satisfied with calling himself Tribune and Knight, the style he affected in his correspondence with Clement VI. ran as follows:—'Candidatus, Spiritus Sancti Miles, Nicolaus Severus et -Clemens, Liberator Urbis, Zelator Italiæ, Amator Orbis, et Tribunus +Clemens, Liberator Urbis, Zelator Italiæ, Amator Orbis, et Tribunus Augustus.' Like Icarus, he spread these waxen wings to the sun's noontide blaze. The same extravagant confusion of things sacred and<span class="pagenum"><a name="Page_107" id="Page_107">-107-</a></span> -profane, classical and mediæval, marked the pageantry of his State +profane, classical and mediæval, marked the pageantry of his State ceremonials in Rome. On August 15, 1347, in celebration of his election to the Tribunate, he assumed six crowns—of ivy, myrtle, laurel, oak, olive, and gilt silver. His arms were blazoned with the @@ -3844,16 +3804,16 @@ in a truly antiquarian spirit. Poggio read them like a book, comparing the testimony they rendered with that of Livy, Vitruvius, and Frontinus, and seeking to compile a catalogue of the existing fragments of old Rome. The first section of his treatise 'De Varietate -Fortunæ,' forms by far the most important source of information we +Fortunæ,' forms by far the most important source of information we possess relating to the state of Rome in the fifteenth century.<a name="FNanchor_117_117" id="FNanchor_117_117"></a><a href="#Footnote_117_117" class="fnanchor">[117]</a> It appears that the Baths of Caracalla and Diocletian could still boast of columns and marble incrustations, but that within Poggio's -own recollection the marbles had been stripped from Cæcilia Metella's +own recollection the marbles had been stripped from Cæcilia Metella's tomb, and the so-called Temple of Concord had been pillaged.<a name="FNanchor_118_118" id="FNanchor_118_118"></a><a href="#Footnote_118_118" class="fnanchor">[118]</a> Among the ruins ascribed to the period of the Republic are mentioned a bridge, an arch, a tomb, a temple, a building on the Capitol, and the pyramid of Cestius.<a name="FNanchor_119_119" id="FNanchor_119_119"></a><a href="#Footnote_119_119" class="fnanchor">[119]</a> Besides these, Poggio enumerates, as -referable chiefly to the Imperial age, eleven temples, seven <i>thermæ</i>, +referable chiefly to the Imperial age, eleven temples, seven <i>thermæ</i>, the Arches of Titus, Severus, and Constantine, parts of the Arches of Trajan, Faustina, and Gallienus, the Coliseum, the Theatres of Pompey and Marcellus, the Circus Agonalis and Circus Maximus, the Columns of @@ -3864,7 +3824,7 @@ statue, and the mausoleums of Augustus and Hadrian.</p> <p>We have to regret that Poggio's description was subservient and introductory to a rhetorical dissertation. Had he applied himself to the task of tabulating more minutely what he had observed, his work -would have been infinitely precious to the archæologist. No one knew +would have been infinitely precious to the archæologist. No one knew more about the Roman buildings than he did. No one felt the impression of their majesty in desolation more profoundly. The mighty city appeared to him, he said, like the corpse of a giant, like a queen in @@ -3883,7 +3843,7 @@ rags, who pointed out to him the ruins of her city, 'to the end that he might understand how fair she was in years of old.'<a name="FNanchor_121_121" id="FNanchor_121_121"></a><a href="#Footnote_121_121" class="fnanchor">[121]</a></p> <p>In this way a sentimental feeling for the relics of the past grew up -and flourished side by side with the archæological interest they +and flourished side by side with the archæological interest they excited. The literature of the Renaissance abounds in matter that might be used in illustration of this remark,<a name="FNanchor_122_122" id="FNanchor_122_122"></a><a href="#Footnote_122_122" class="fnanchor">[122]</a> while nothing was commoner in art than to paint for backgrounds broken arches and @@ -3909,7 +3869,7 @@ and gained a fair knowledge of Greek. In the course of his long wanderings he ransacked every part of Italy, Greece, and the Greek islands, collecting medals, gems, and fragments of sculpture, buying manuscripts, transcribing records, and amassing a miscellaneous store -of archæological information. The enthusiasm that possessed him was so +of archæological information. The enthusiasm that possessed him was so untempered by sobriety that it excited the suspicion of contemporaries. Some regarded him as a man of genuine learning; others spoke of him as a flighty, boastful, and untrustworthy fanatic.<a name="FNanchor_123_123" id="FNanchor_123_123"></a><a href="#Footnote_123_123" class="fnanchor">[123]</a><span class="pagenum"><a name="Page_114" id="Page_114">-114-</a></span> @@ -4026,14 +3986,14 @@ Alfonso the Magnanimous at Naples, and Nicholas V. in Rome the leaders of the Renaissance at this time converge. The third is the age of academies. The literary republic, formed during the first and second periods, now gathers into coteries, whereof the Platonic Academy at -Florence, that of Pontanus at Naples, that of Pomponius Lætus in Rome, +Florence, that of Pontanus at Naples, that of Pomponius Lætus in Rome, and that of Aldus Manutius at Venice are the most important. Scholarship begins to exhibit a marked improvement in all that concerns style and taste. At the same time Italian erudition reaches its maximum in Poliziano. Externally this third period is distinguished by the rapid spread of printing and the consequent downfall of the humanists as a class. In the fourth period we notice a -gradual decline of learning; æsthetic and stylistic scholarship begins +gradual decline of learning; æsthetic and stylistic scholarship begins to claim exclusive attention. This is the age of the purists, over whom Bembo exercises the sway of a dictator, while the Court of Leo X. furnishes the most brilliant assemblage of literati in Europe. @@ -4107,7 +4067,7 @@ warmer passion than their love for their city. However much we may deplore the rancorous dissensions which from time to time split up the commonwealth into parties, the remorseless foreign policy which destroyed Pisa, the political meanness of the Medici, and the base -egotism of the <i>ottimati</i>, the fact remains that, æsthetically and +egotism of the <i>ottimati</i>, the fact remains that, æsthetically and intellectually, Florence was 'a city glorious,' a realised ideal of culture and humanity for all the rest of Italy, and, through Italian influence in general, for modern Europe and for us.</p> @@ -4143,9 +4103,9 @@ passionately fond of literature, Messer Palla always kept copyists in his own house and outside it, of the best who were in Florence, both for Greek and Latin books; and all the books he could find he purchased, on all subjects, being minded to found a most noble library -in Santa Trinità, and to erect there a most beautiful building for the +in Santa Trinità , and to erect there a most beautiful building for the purpose. He wished that it should be open to the public, and he chose -Santa Trinità because it was in the centre of Florence, a site of +Santa Trinità because it was in the centre of Florence, a site of great convenience to everybody. His disasters supervened, and what he had designed he could not execute.'<a name="FNanchor_128_128" id="FNanchor_128_128"></a><a href="#Footnote_128_128" class="fnanchor">[128]</a></p> @@ -4176,7 +4136,7 @@ went on with no less vigour than at Florence.</p> by his enemy Cosimo de' Medici. Though the historian cannot respect this man, whose mean and selfish ambition undermined the liberties of his native city, there is no doubt that he deserves the credit of a -prudent and munificent Mæcenas. No Italian of his epoch combined zeal +prudent and munificent Mæcenas. No Italian of his epoch combined zeal for learning and generosity in all that could advance the interests of arts and letters, more characteristically, with political corruption and cynical egotism. Early in life Cosimo entered his father's house @@ -4296,7 +4256,7 @@ of Niccolo was compromised by heavy debts. These debts Cosimo cancelled, obtaining in exchange the right to dispose of the library. In 1441 the hall of the convent was finished. Four hundred of Niccolo's MSS. were placed there, with this inscription upon each: <i>Ex -hereditate doctissimi viri Nicolai de Nicolis de Florentiâ.</i> Tommaso +hereditate doctissimi viri Nicolai de Nicolis de Florentiâ.</i> Tommaso Parentucelli made a catalogue at Cosimo's request, in which he not only noted the titles of Niccoli's books, but also marked the names of others wanting to complete the collection. This catalogue afterwards @@ -4330,7 +4290,7 @@ Laurentian Library. On the title-pages of many venerable MSS. may still be read inscriptions, testifying to the munificence of the Medici, and calling upon pious students to remember the souls of their benefactors in their prayers<a name="FNanchor_142_142" id="FNanchor_142_142"></a><a href="#Footnote_142_142" class="fnanchor">[142]</a>—<i>Orato itaque lector ut gloria et -divitiæ sint in domo ejus justitia ejus et maneat in sæculum sæculi.</i></p> +divitiæ sint in domo ejus justitia ejus et maneat in sæculum sæculi.</i></p> <p><span class="pagenum"><a name="Page_128" id="Page_128">-128-</a></span></p> @@ -4389,7 +4349,7 @@ spared no cost in getting it; the number of the Latin books which Florence owes entirely to his generosity cannot be reckoned.'<a name="FNanchor_147_147" id="FNanchor_147_147"></a><a href="#Footnote_147_147" class="fnanchor">[147]</a> Great, therefore, must have been the transports of delight with which he welcomed on one occasion a manuscript containing seven tragedies -of<span class="pagenum"><a name="Page_130" id="Page_130">-130-</a></span> Sophocles, six of Æschylus, and the 'Argonautica' of Apollonius +of<span class="pagenum"><a name="Page_130" id="Page_130">-130-</a></span> Sophocles, six of Æschylus, and the 'Argonautica' of Apollonius Rhodius.<a name="FNanchor_148_148" id="FNanchor_148_148"></a><a href="#Footnote_148_148" class="fnanchor">[148]</a> Nor was he only eager in collecting for his own use. He lent his books so freely that, at the moment of his death, two hundred volumes were out on loan;<a name="FNanchor_149_149" id="FNanchor_149_149"></a><a href="#Footnote_149_149" class="fnanchor">[149]</a> and, when it seemed that Boccaccio's @@ -4408,7 +4368,7 @@ before the world of letters as an author. His enemies made the most of this reluctance, averring that he knew his own ineptitude, while his friends referred his silence to an exquisite fastidiousness of taste.<a name="FNanchor_151_151" id="FNanchor_151_151"></a><a href="#Footnote_151_151" class="fnanchor">[151]</a> It may have been that he remembered the Tacitean epigram -on Galba—<i>omnium consensu capax imperii nisi imperâsset</i>—and applied +on Galba—<i>omnium consensu capax imperii nisi imperâsset</i>—and applied it to himself. Certainly his reserve, in an age noteworthy for arrogant display, has tended to confer on him distinction. The position he occupied at Florence was that of a literary dictator. All @@ -4428,7 +4388,7 @@ classicism of Brunelleschi and Donatello, both of whom were among his intimate friends, may be due in part at least to his discourses on the manner of the ancients.<a name="FNanchor_153_153" id="FNanchor_153_153"></a><a href="#Footnote_153_153" class="fnanchor">[153]</a> Pliny, we know, was one of his favourite authors; for, having heard that a complete codex of the 'Natural -Histories' existed at Lübeck, he left no stone unturned till it had +Histories' existed at Lübeck, he left no stone unturned till it had been transferred to Florence.<a name="FNanchor_154_154" id="FNanchor_154_154"></a><a href="#Footnote_154_154" class="fnanchor">[154]</a></p> <p>Vespasiano's account of his personal habits presents so vivid a @@ -4497,7 +4457,7 @@ grateful Republic rewarded their chancellor by bestowing upon him the citizenship of Florence, and by exempting the author and his children from taxation. The high value at which Bruni rated his own Latin scholarship is proved by his daring to restore the second Decade of -Livy in a compilation entitled 'De Primo Bello Punico.' His mediæval +Livy in a compilation entitled 'De Primo Bello Punico.' His mediæval erudition was exercised in the history of the Gothic invasion of Italy, while his more elegant style found ample scope in Latin Lives of Cicero and Aristotle, in a book of Commentaries on his own times, @@ -4512,8 +4472,8 @@ in the acknowledgment of so magnificent a tribute of respect caused the haughty scholar to transfer the honour of his dedication to Eugenius IV. He cancelled his first preface, substituted a new one, and received the praise and thanks he sought, in plenty from his -Holiness.<a name="FNanchor_160_160" id="FNanchor_160_160"></a><a href="#Footnote_160_160" class="fnanchor">[160]</a> Of Plato Bruni translated the 'Phædo,' 'Crito,' and -'Apology,' the 'Phædrus' and the 'Gorgias,' together with the +Holiness.<a name="FNanchor_160_160" id="FNanchor_160_160"></a><a href="#Footnote_160_160" class="fnanchor">[160]</a> Of Plato Bruni translated the 'Phædo,' 'Crito,' and +'Apology,' the 'Phædrus' and the 'Gorgias,' together with the 'Epistles.' To these versions must be added six Lives of Plutarch and two Orations of Demosthenes. Nor have we thus by any means exhausted the list of Bruni's Latin compositions, which included controversial @@ -4571,7 +4531,7 @@ translations of the 'Batrachomyomachia' and the first book of the <p>Matteo Palmieri, who pronounced the funeral oration of Messer Carlo Aretino, sprang from an honourable Florentine stock, and by his own abilities rose to a station of considerable public influence. He is -principally famous as the author of a mystical poem called 'Città di +principally famous as the author of a mystical poem called 'Città di Vita,' which, though it was condemned for its heretical opinions, obtained from Ficinus for its author the title of <i>Poeta Theologicus</i>. To discuss the circumstances under which this allegory in the style of @@ -4600,7 +4560,7 @@ acquired sufficient familiarity with Hebrew, he turned the arms supplied him by his tutors against their heresies, basing his arguments upon such interpretations of texts as his superior philology suggested to him. The great work of his literary leisure was a -polemical discourse 'Contra Judæos et Gentes,' for, unlike Marsuppini, +polemical discourse 'Contra Judæos et Gentes,' for, unlike Marsuppini, he placed his erudition solely at the service of the Christian faith. Another fruit of his Hebrew studies was a new translation of the Psalms from the original.</p> @@ -4621,7 +4581,7 @@ Chancellor Carlo Aretino, to congratulate him. Manetti was a Colleague of the Signory, and on him would therefore have naturally fallen the fulfilment of the task, had not this honour been conferred, by private machinations of the Medicean family, on Carlo. The Chancellor duly -delivered a prepared oration, which was answered by Æneas Sylvius in +delivered a prepared oration, which was answered by Æneas Sylvius in the name of the Emperor. Some topics raised in this reply required rejoinder from the Florentines; but Messer Carlo declared himself unable to speak without previous study. To be forced to hold their @@ -4733,7 +4693,7 @@ circumstances gave fresh impulse to their activity. Eugenius IV., having been expelled from Rome in 1434, had fixed his headquarters in Florence, whither in 1438 he transferred the<span class="pagenum"><a name="Page_142" id="Page_142">-142-</a></span> Council which had first been opened at Ferrara for negotiating the union of the Greek and -Latin Churches. The Emperor of the East, John Palæologus, surrounded +Latin Churches. The Emperor of the East, John Palæologus, surrounded by his theologians and scribes, together with the Pope of Rome, on whom a train of cardinals and secretaries attended, now took up their quarters in the city of the Medici. A temporary building at Santa @@ -4837,7 +4797,7 @@ invented for the amusement of his leisure hours. Yet nothing can be graver than his own language and that of his disciples.</p> <p>The work in which he embodied his doctrine was called 'The -Laws'—<span lang="grc" title="Greek: hê tôn nomôn syngraphê">ἡ τῶν νόμων συγγραφή</span>, +Laws'—<span lang="grc" title="Greek: hê tôn nomôn syngraphê">ἡ τῶν νόμων συγγραφή</span>, or simply <span lang="grc" title="Greek: nomoi">νόμοι</span>. It comprised a metaphysical system, the outlines of a new religion, an elaborate psychology and theory of ethics, and a scheme of political @@ -4856,7 +4816,7 @@ Next in rank is Hera, the female deity, created immediately by Zeus, but by a second act, and therefore inferior to Poseidon. These two are the primordial authors of the world as it exists. After them come three series, each of five deities, whereof the first set, including -Apollo, Artemis, Hephæstus, Dionysus, and Athena, represent the most +Apollo, Artemis, Hephæstus, Dionysus, and Athena, represent the most general categories. The second set, among whom we find Atlas and Pluto, are the ideas of immortal substance existing for ever in the world of living beings. The third, which reckons among others Hecate @@ -4864,14 +4824,14 @@ and Hestia, are the ideas of immortal substance existing for ever in the inanimate world. Next in the descending order come the spurious offspring of Zeus, or Titans, two of whom, Cronos and Aphrodite, are the ideas respectively of form and matter in things subject to decay -and dissolution; while Koré, Pan, and Demeter are the specific ideas +and dissolution; while Koré, Pan, and Demeter are the specific ideas of men, beasts, and plants. Hitherto we have been recording the genealogy of divine beings subject to no laws of time or change, who are, in fact, pure thoughts or logical entities. We arrive in the last place at deities of the third degree, the genuine and the spurious children, no longer of Zeus, but of Poseidon, chieftain of the second order of the hierarchy. The planets and the fixed stars constitute the -higher of these inferior powers, while the dæmons fill the lowest +higher of these inferior powers, while the dæmons fill the lowest class of all. At the very bottom of the scale, below the gods of every quality, stand men, beasts, plants, and the inorganic world.</p> @@ -4931,12 +4891,12 @@ religion had but little energy among the educated classes. The interests of the Church were more political than spiritual. Science had not yet asserted her real rights in any sphere of thought. Art and literature, invigorated by the passion for antiquity, meanwhile -absorbed the genius of the Italians; and through a dim æsthetic haze +absorbed the genius of the Italians; and through a dim æsthetic haze the waning lights of Hellas mingled with the dayspring of the modern world.</p> <p>The most important event of Gemistos's life was the journey which he -took to Italy in the train of John Palæologus in 1438. Secretly +took to Italy in the train of John Palæologus in 1438. Secretly disliking Christianity in general, and the Latin form of it in particular, he had endeavoured to dissuade the emperor from attending the Council. Now he found himself elected as one of the six champions @@ -5095,7 +5055,7 @@ Cicero. The Republic of Venice, however, demanded more of patriotic service from her high-born citizens than the commonwealth of Florence; and Barbaro had to spend his life in the discharge of grave State duties, finding little leisure for the cultivation of his literary -talents. It remained for him to win the fame of a Mæcenas, who, had he +talents. It remained for him to win the fame of a Mæcenas, who, had he chosen, might have disputed laurels with the ablest of the scholars he protected.</p> @@ -5271,9 +5231,9 @@ of the time.<a name="FNanchor_189_189" id="FNanchor_189_189"></a><a href="#Footn <p>Though Biondo had but little Greek, and could boast of no beauty of style, his immense erudition raised him to high rank among Italian scholars. The work he undertook was to illustrate the antiquities of -Italy in a series of historical, topo<span class="pagenum"><a name="Page_160" id="Page_160">-160-</a></span>graphical, and archæological +Italy in a series of historical, topo<span class="pagenum"><a name="Page_160" id="Page_160">-160-</a></span>graphical, and archæological studies. His 'Roma Instaurata,' 'Roma Triumphans,' and 'Italia -Illustrata,' three bulky encyclopædias of information concerning +Illustrata,' three bulky encyclopædias of information concerning ancient manners, laws, sites, monuments, and races, may justly be said to have formed the basis of all subsequent dictionaries of Roman antiquities. Another product of his industry was entitled 'Historiarum @@ -5283,7 +5243,7 @@ task. In estimating the value of Biondo's contributions to history, we must remember that he had no previous compilations whereon to base his own researches. The vast stores of knowledge he collected and digested were derived from original sources. He grasped the whole of Latin -literature, both classical and mediæval, arranged the results of his +literature, both classical and mediæval, arranged the results of his comprehensive reading into sections, and furnished the learned world with tabulated materials for the study of Roman institutions in the State, the camp, the law courts, private life, and religious @@ -5437,7 +5397,7 @@ Perotti 500 ducats for Polybius; while Manetti was pensioned at the rate of 600 scudi per annum to enable him to carry on his sacred studies. Nicholas delighted in Greek history. Accordingly, Appian was translated by Piero Candido Decembrio, Diodorus Siculus and the -'Cyropædia' of Xenophon by Poggio,<a name="FNanchor_196_196" id="FNanchor_196_196"></a><a href="#Footnote_196_196" class="fnanchor">[196]</a> Herodotus by Valla. Valla and +'Cyropædia' of Xenophon by Poggio,<a name="FNanchor_196_196" id="FNanchor_196_196"></a><a href="#Footnote_196_196" class="fnanchor">[196]</a> Herodotus by Valla. Valla and Decembrio were both engaged upon the 'Iliad' in Latin prose; but the dearest wish of Nicholas in his last years was to see the poems of Homer in the verse of Filelfo. Nor were the Greeks then resident in @@ -5517,9 +5477,9 @@ its magic for posterity, unless it be truly classical in form, or weighted with sound thought, or animated with high inspiration. Just these qualities were missed by Poggio and his compeers. Setting no more serious aim before them than the imitation of Livy and Cicero, -Seneca and Cæsar, they fell far short of their originals; nor had they +Seneca and Cæsar, they fell far short of their originals; nor had they matter to make up for their defect of elegance. Poggio's treatises 'De -Nobilitate,' 'De Varietate Fortunæ,' 'De Miseriâ Humanæ Conditionis,' +Nobilitate,' 'De Varietate Fortunæ,' 'De Miseriâ Humanæ Conditionis,' 'De Infelicitate Principum,' 'An Seni sit Uxor ducenda,' 'Historia Disceptiva Convivialis,' and so forth, were as interesting to Italy in the fifteenth century as Voltaire's occasional essays to our more @@ -5540,7 +5500,7 @@ Poggio served the Church for half a century, no one exposed the vices of the clergy with more ruthless sarcasm, or turned the follies of the monks to ridicule with more relentless scorn. After reading his 'Dialogue against the Hypocrites,' his 'Invective against Felix the -Antipope,' and his 'Facetiæ,' it is difficult to understand how a +Antipope,' and his 'Facetiæ,' it is difficult to understand how a satirist who knew the weak points of the Church so intimately, and exposed them so freely, could have held high station and been honoured in the Papal Curia. They confirm in the highest degree all that has @@ -5548,7 +5508,7 @@ been written in the previous volume about the division between religion and morality in Italy, the cynical self-satisfaction of the clergy, and the secular indifference of the Papacy, proving at the same time the proudly independent position which the talents of the -humanists had won for them at Rome. At the end of the 'Facetiæ'—a +humanists had won for them at Rome. At the end of the 'Facetiæ'—a collection of grossly indecent and not always very witty stories—Poggio refers to the meetings with which he and his comrades entertained themselves after the serious business of the day was @@ -5573,7 +5533,7 @@ preserve, together with anecdotes borrowed from the 'Cent Nouvelles nouvelles' and other sources, he committed to Latin, and printed in the later years of his life. The title given to the book was 'Facetiarum Liber.' It ran speedily through numerous editions, and was -read all over Europe with the same eagerness that the 'Epistolæ +read all over Europe with the same eagerness that the 'Epistolæ Obscurorum Virorum' afterwards excited. Underneath its ribaldry and nonsense, however, there lay no serious intention. The satires on the clergy were contemptuous and flippant, arguing more liking on the part @@ -5592,7 +5552,7 @@ scurrility and more that bears with real weight on the vices of the clergy. Begging friars, preachers, confessors, and aspirants to the fame of holiness are cited by name and scourged with pitiless impartiality, while the worldly ambition of the Roman churchmen is -unmasked. The 'Fratres Observantiæ,' who flourished under Pope +unmasked. The 'Fratres Observantiæ,' who flourished under Pope Eugenius, receive stern castigation at the hands of Carlo Aretino. Shepherd remarks, not without justice, on this dialogue that, had the author 'ventured to advance the sentiments which it contains in the @@ -5623,7 +5583,7 @@ vehemence,' writes Vespasiano,<a name="FNanchor_208_208" id="FNanchor_208_208">< of him.' Even Alfonso of Naples found it prudent to avert his anger by a timely present of 600 ducats, when Poggio complained of his remissness in acknowledging the version of Xenophon's -'Cyropædia,'<a name="FNanchor_209_209" id="FNanchor_209_209"></a><a href="#Footnote_209_209" class="fnanchor">[209]</a> and hinted at the same time that a scholar's pen was +'Cyropædia,'<a name="FNanchor_209_209" id="FNanchor_209_209"></a><a href="#Footnote_209_209" class="fnanchor">[209]</a> and hinted at the same time that a scholar's pen was powerful enough to punish kings for their ingratitude. The overtures, again, made to Poggio by Filippo Maria Visconti, and the consideration he received from Cosimo de' Medici, testified to the desire of princes @@ -5673,12 +5633,12 @@ astounding.</p> <p>The dispute with Filelfo was rather personal than literary. Another duel into which Poggio entered with Guarino turned upon the respective -merits of Scipio and Julius Cæsar. Poggio had occasion to explain, in +merits of Scipio and Julius Cæsar. Poggio had occasion to explain, in correspondence with a certain Scipione Ferrarese, his reasons for preferring the character of Scipio Africanus. Guarino, with a view to -pleasing his pupil Lionello d'Este, a professed admirer of Cæsar, took +pleasing his pupil Lionello d'Este, a professed admirer of Cæsar, took up the cudgels in defence of the dictator,<a name="FNanchor_215_215" id="FNanchor_215_215"></a><a href="#Footnote_215_215" class="fnanchor">[215]</a> and treated Poggio, -whom he called Cæsaromastix, with supreme contempt. Poggio replied in +whom he called Cæsaromastix, with supreme contempt. Poggio replied in a letter to the noble Venetian scholar Francesco Barbaro.<a name="FNanchor_216_216" id="FNanchor_216_216"></a><a href="#Footnote_216_216" class="fnanchor">[216]</a> Hard words were exchanged on both sides, and the antagonists were only reconciled on the occasion of Poggio's marriage in 1435. Rome, @@ -5689,7 +5649,7 @@ Valla.<a name="FNanchor_217_217" id="FNanchor_217_217"></a><a href="#Footnote_21 strictures penned by the young student; and the fiery scholar, flying to the conclusion that the master, not the pupil, had dictated them, discharged his usual missile, a furious invective, against Valla. Thus -attacked, the author of the 'Elegantiæ' responded in a similar +attacked, the author of the 'Elegantiæ' responded in a similar composition, entitled 'Antidotum in Poggium,' and dedicated to Nicholas V.<a name="FNanchor_218_218" id="FNanchor_218_218"></a><a href="#Footnote_218_218" class="fnanchor">[218]</a> Poggio followed with another invective; nor did the quarrel end till he had added five of these disgusting compositions to @@ -5785,7 +5745,7 @@ closing years of his life. He left it still unfinished in the year 1459, when he died, and was buried in the Church of Santa Croce. I cannot find that his funeral was accompanied by the peculiar honours voted in the case of his two predecessors. The Florentines, however, -erected his statue on the façade of Santa Maria del Fiore, and placed +erected his statue on the façade of Santa Maria del Fiore, and placed his picture by Antonio dal Pollajuolo in the hall of the Proconsolo. The fate of this statue, a work of Donatello's, was not a little curious. On the occasion of some alterations in 1560, it was removed @@ -5822,7 +5782,7 @@ settlement in Rome in 1450, had been received into Bessarion's household, entered the lists with a critique of Gemistos; to which Bessarion replied: and so the warfare begun by Gennadios at Byzantium was continued by the Greek exiles at Rome. The titles of the works -issued in this contest, among which we find 'De Naturâ et Arte,' +issued in this contest, among which we find 'De Naturâ et Arte,' 'Utrum Natura Consilio Agat,' 'Comparationes Philosophorum Aristotelis et Platonis,' sufficiently indicate the extent of ground traversed. The chief result was the rousing of Italian scholars to weightier @@ -5954,8 +5914,8 @@ is doubtful.<a name="FNanchor_236_236" id="FNanchor_236_236"></a><a href="#Footn <p>Among the humanists who stood nearest to the person of this monarch, Antonio Beccadelli, called from his birthplace Il Panormita, deserves the first place. Born at Palermo in 1394, he received his education at -Siena, where he was a fellow-student with Æneas Sylvius Piccolomini. -The city of Siena, <i>molles Senæ</i>, as the poet himself called it, was +Siena, where he was a fellow-student with Æneas Sylvius Piccolomini. +The city of Siena, <i>molles Senæ</i>, as the poet himself called it, was notorious throughout Italy for luxury of living. Here, therefore, it may be presumed that Beccadelli in his youth enjoyed the experiences which he afterwards celebrated in 'Hermaphroditus.'<a name="FNanchor_237_237" id="FNanchor_237_237"></a><a href="#Footnote_237_237" class="fnanchor">[237]</a> Nothing is @@ -6049,7 +6009,7 @@ public penance at<span class="pagenum"><a name="Page_188" id="Page_188">-188-</a of those stories on which the general character of the invectives that contain it, throws uncertainty. Far more to our purpose is the fact that at this period he became the supreme authority on points of Latin -style in Italy by the publication of his 'Elegantiæ.' True to his own +style in Italy by the publication of his 'Elegantiæ.' True to his own genius, Valla displayed in this masterly treatise the qualities that gave him a place unique among the scholars of his day. The forms of correct Latinity which other men had picked out as they best could by @@ -6161,7 +6121,7 @@ their general Piccinino in 1452-3 with Sforza. Porcello, who shared the tent of Piccinino on this occasion, wrote a Latin history of the campaign in the style of Livy, with moral reflections, speeches, and all the apparatus of Roman rhetoric. Piccinino figured as Scipio -Æmilianus; Sforza as Hannibal. The work was dedicated to Alfonso.<a name="FNanchor_251_251" id="FNanchor_251_251"></a><a href="#Footnote_251_251" class="fnanchor">[251]</a></p> +Æmilianus; Sforza as Hannibal. The work was dedicated to Alfonso.<a name="FNanchor_251_251" id="FNanchor_251_251"></a><a href="#Footnote_251_251" class="fnanchor">[251]</a></p> <p>With the exception of Lorenzo Valla,<a name="FNanchor_252_252" id="FNanchor_252_252"></a><a href="#Footnote_252_252" class="fnanchor">[252]</a> the scholars of the Court of Naples were stylists and poets rather than men of erudition. Freedom @@ -6238,7 +6198,7 @@ between Venice and Byzantium was five months; Filelfo did not arrive till the<span class="pagenum"><a name="Page_194" id="Page_194">-194-</a></span> year 1420 was already well advanced. He put himself at once under the tuition of John Chrysoloras, the brother of Manuel, whose influence at the Imperial Court brought Filelfo into favour with John -Palæologus. The young Italian student, having speedily acquired +Palæologus. The young Italian student, having speedily acquired familiarity with the Greek tongue, received the titles of Secretary and Counsellor, and executed some important diplomatic missions for his Imperial master. We hear, for instance, of his being sent to @@ -6655,7 +6615,7 @@ him, together with a general order on the treasury of Mantua. A villa, called Casa Zojosa, which we may translate Joyous Gard, was allotted to the new household, and there Vittorino established himself as master in 1425. He had much to do before this dwelling could be -converted from the pleasure house of a mediæval sovereign into the +converted from the pleasure house of a mediæval sovereign into the semi-monastic resort of earnest students. Through its open<span class="pagenum"><a name="Page_212" id="Page_212">-212-</a></span> galleries and painted banquet chambers the young Gonzaghi lounged with favourite friends selected from the Mantuan nobility. The tables groaned under @@ -6746,7 +6706,7 @@ emphatic declamation. His pupils were taught to see that they had something to say first, and then to say it with simplicity and elegance.</p> -<p>This purity of taste was no mere matter of æsthetic sensibility with +<p>This purity of taste was no mere matter of æsthetic sensibility with Vittorino. Habits which brutalise the mind or debase the body, however sanctioned by the usage of the times, met with little toleration in his presence. Swearing, obscene language, vulgar joking, and angry @@ -6900,7 +6860,7 @@ employed in its formation, has given us minute and interesting details.<a name="FNanchor_304_304" id="FNanchor_304_304"></a><a href="#Footnote_304_304" class="fnanchor">[304]</a> During more than fourteen years the Duke kept thirty or forty copyists continually employed in transcribing Greek and Latin MSS. Not only the classics in both languages, but the ecclesiastical -and mediæval authors, the Italian poets, and the works of contemporary +and mediæval authors, the Italian poets, and the works of contemporary humanists found a place in his collection. The cost of the whole was estimated at considerably over 30,000 ducats. Each volume was bound in crimson, with silver clasps; the leaves were of vellum, exquisitely @@ -6940,7 +6900,7 @@ every day's occupation.</p> <p>This is the proper place to speak of Vespasiano da Bisticci, on whose 'Lives of Illustrious Men' I have had occasion to draw so copiously. -Peculiar interest attaches to him as the last of mediæval scribes, and +Peculiar interest attaches to him as the last of mediæval scribes, and at the same time the first of modern booksellers.<a name="FNanchor_307_307" id="FNanchor_307_307"></a><a href="#Footnote_307_307" class="fnanchor">[307]</a> Besides being the agent of Cosimo de' Medici, Nicholas V., and Frederick of Urbino, Vespasiano supplied the foreign markets, sending MSS. by order to @@ -6951,7 +6911,7 @@ already inquiring for news about the art that saved expense and shortened the labour of the student.<a name="FNanchor_308_308" id="FNanchor_308_308"></a><a href="#Footnote_308_308" class="fnanchor">[308]</a> Vespasiano, who was born in 1421 at Florence, lived until 1498; so that after having helped to form the three greatest collections of MSS. in Italy, he witnessed the -triumph of printing, and might have even handled the Musæus issued +triumph of printing, and might have even handled the Musæus issued from the Aldine Press in 1493. Vespasiano was no mere tradesman. His knowledge of the books he sold was accurate; continual study enabled him to overlook the copyists, and to vouch for the exactitude of their @@ -7008,7 +6968,7 @@ Homer—The 'Homericus Juvenis'—True Genius in Poliziano—Command of Latin and Greek—Resuscitation of Antiquity in his own Person—His Professorial Work—The 'Miscellanea'—Relation to Medici—Roman Scholarship in this -Period—Pius II.—Pomponius Lætus—His Academy and Mode of +Period—Pius II.—Pomponius Lætus—His Academy and Mode of Life—Persecution under Paul II.—Humanism at Naples—Pontanus—His Academy—His Writings—Academies established in all Towns of Italy—Introduction of @@ -7038,8 +6998,8 @@ erudition passed for scholarship, and crude verbiage for eloquence. The humanists of the third age, still burning with the zeal that animated Petrarch, and profiting by the labours of their predecessors, ascended to a higher level of culture. It is their glory to have -purified the coarse and tumid style of mediæval Latinists, to have -introduced the methods of comparative and æsthetic criticism, and to +purified the coarse and tumid style of mediæval Latinists, to have +introduced the methods of comparative and æsthetic criticism, and to have distinguished the characteristics of the authors and the periods they studied.</p> @@ -7265,7 +7225,7 @@ Renaissance found in him its fullest incarnation. It was the duty of Italy in the fifteenth century not to establish religious or constitutional liberty, but to resuscitate culture. Before the disastrous wars of invasion had begun, it might well have seemed even -to patriots as though Florence needed a Mæcenas more than a Camillus. +to patriots as though Florence needed a Mæcenas more than a Camillus. Therefore the prince who in his own person combined all accomplishments, who knew by sympathy and counsel how to stimulate the genius of men superior to himself in special arts and sciences, who @@ -7323,7 +7283,7 @@ boy is bidden to tune his mandoline to Messer Angelo's last-made <p>There is no difficulty in explaining Plato's power upon the thinkers of the fifteenth century. Among philosophers Plato shines like a -morning star—<span lang="grc" title="Greek: outh' hesperos oute eôos ontô thaumastos">οὔθ’ ἕσπερος οὔτε ἐῷος οὕτω θαυμαστός</span>—an +morning star—<span lang="grc" title="Greek: outh' hesperos oute eôos ontô thaumastos">οὔθ’ ἕσπερος οὔτε ἐῷος οὕτω θαυμαστός</span>—an auroral luminary, charming and compelling the attention of the world when man is on the verge of new discoveries. That he should have enslaved the finest intellects at a time when the sense of beauty was @@ -7436,7 +7396,7 @@ one of these birthday feasts Ficino has given a lively picture in his letter to Jacopo Bracciolini ('Prolegomena ad Platonis Symposium'). After partaking of a banquet, the text of the 'Symposium' was delivered over to discussion. Giovanni Cavalcanti interpreted the -speeches of Phædrus and Pausanias, Landino that of Aristophanes; Carlo +speeches of Phædrus and Pausanias, Landino that of Aristophanes; Carlo Marsuppini undertook the part of Agathon, while Tommaso Benci explained the esoteric meaning of Diotima. Was there anyone, we wonder, to act Alcibiades; or did Lorenzo, perhaps, sit drinking till @@ -7560,7 +7520,7 @@ to prove the harmony of philosophies in Christianity, and to explain the<span class="pagenum"><a name="Page_243" id="Page_243">-243-</a></span> Christian doctrine by the esoteric teaching of the Jews.<a name="FNanchor_318_318" id="FNanchor_318_318"></a><a href="#Footnote_318_318" class="fnanchor">[318]</a> Pico's view of the connection between philosophy, theology, and religion is plainly stated in the following sentence from a letter to -Aldus Manutius (February 11, 1491):—'Philosophia veritatem quærit, +Aldus Manutius (February 11, 1491):—'Philosophia veritatem quærit, theologia invenit, religio possidet' ('Philosophy seeks truth, theology discovers it, religion hath it'). Death overtook him before the book intended to demonstrate these positions, and by so doing to @@ -7652,7 +7612,7 @@ robes of the Benedictine Order for the snow-white livery of angels, they not unnaturally began to compare the active life that they had left at Florence with the contemplative life of philosophers and saints. Alberti led the conversation by a panegyric of the -<span lang="grc" title="Greek: bios theôrêtikos">βίος θεωρητικός</span>, maintaining the Platonic thesis with a wealth of +<span lang="grc" title="Greek: bios theôrêtikos">βίος θεωρητικός</span>, maintaining the Platonic thesis with a wealth of illustration and a charm of eloquence peculiar to himself. Lorenzo took up the argument in favour of the <span lang="grc" title="Greek: bios praktikos">βίος πρακτικός</span>. If Alberti proved that solitude and meditation are the nurses of great @@ -7711,7 +7671,7 @@ painting; practised architecture and compiled ten books on building. Of his books, chiefly portraits, nothing remains; but the Church of S. Andrea at Mantua, the Palazzo Rucellai at Florence, and the<span class="pagenum"><a name="Page_248" id="Page_248">-248-</a></span> remodelled Church of S. Francesco at Rimini attest his greatness as an -architect. The façade of the latter building is more thoroughly +architect. The façade of the latter building is more thoroughly classical than any other monument of the earlier Renaissance. As a transcript from Roman antiquity it ranks with the Palazzo della Ragione of Palladio at Vincenza. While still a young man, Alberti, @@ -7836,7 +7796,7 @@ certain licenses not justified by pure Greek prosody, might claim a place in the 'Anthology,' among the epigrams of Agathias and Paulus Silentiarius.<a name="FNanchor_325_325" id="FNanchor_325_325"></a><a href="#Footnote_325_325" class="fnanchor">[325]</a> The Doric couplets on two beautiful boys, and the love sonnet to the youth Chrysocomus, read like extracts from the -<span lang="grc" title="Greek: Mousa paidikê">Μοῦσα παιδική</span>.<a name="FNanchor_326_326" id="FNanchor_326_326"></a><a href="#Footnote_326_326" class="fnanchor">[326]</a> What is remarkable about the Greek and +<span lang="grc" title="Greek: Mousa paidikê">Μοῦσα παιδική</span>.<a name="FNanchor_326_326" id="FNanchor_326_326"></a><a href="#Footnote_326_326" class="fnanchor">[326]</a> What is remarkable about the Greek and Latin poetry of Poliziano is that the flavour of the author's Italian style transpires in them. They are no mere imitations of the classics. The 'roseate fluency' of the 'Rime' reappears in these <i>prolusiones</i>, @@ -7894,7 +7854,7 @@ authors he explained in public. Virgil was celebrated in the 'Manto,' and Homer in the 'Ambra;' the 'Rusticus' served as prelude to the 'Georgics,' while the 'Nutricia' formed an introduction to the study of ancient and modern poetry. Nor did he confine his attention to fine -literature. The curious prælection in prose called 'Lamia' was +literature. The curious prælection in prose called 'Lamia' was intended as a prelude to the prior 'Analytics' of Aristotle. Among his translations must be mentioned Epictetus, Herodian, Hippocrates, Galen, Plutarch's 'Eroticus,' and the 'Charmides' of Plato. His @@ -7914,7 +7874,7 @@ only had recourse when the text seemed hopeless. His work upon the <p>The results of Poliziano's more fugitive studies, and some notes of conversations on literary topics with Lorenzo, were published in 1489 under the title of 'Miscellanea.'<a name="FNanchor_328_328" id="FNanchor_328_328"></a><a href="#Footnote_328_328" class="fnanchor">[328]</a> The form was borrowed from the -'Noctes Atticæ' of Aulus Gellius; in matter this collection +'Noctes Atticæ' of Aulus Gellius; in matter this collection anticipated the genial criticisms of Erasmus. The excitement caused by its appearance is vividly depicted in the following letter of Jacopus Antiquarius, secretary to the Duke of Milan:<a name="FNanchor_329_329" id="FNanchor_329_329"></a><a href="#Footnote_329_329" class="fnanchor">[329]</a>—'Going lately, @@ -8027,7 +7987,7 @@ Angelus unum<br /> qui caput et linguas<br /> res nova tres habuit.<br /> Obiit an. <span class="sm">MCCCCLXXXXIV</span><br /> -Sep. <span class="sm">XXIV.</span> Ætatis<br /> +Sep. <span class="sm">XXIV.</span> Ætatis<br /> <span class="sm">XL.</span></span><a name="FNanchor_334_334" id="FNanchor_334_334"></a><a href="#Footnote_334_334" class="fnanchor">[334]</a> </p> @@ -8039,12 +7999,12 @@ apostrophised as 'Poliziano, master of the Ausonian lyre.'</p> <p>The fortunes of Roman scholarship kept varying with the personal tastes of each successive Pope. Calixtus III. differed wholly from his -predecessor, Nicholas V. Learned in theology and mediæval science, he +predecessor, Nicholas V. Learned in theology and mediæval science, he was dead to the interests of humanistic literature. Vespasiano assures us that, when he entered the Vatican library and saw its Greek and Latin authors in their red and silver bindings, instead of praising the munificence of Nicholas, he exclaimed, 'Vedi in che egli ha -consumato la robba della Chiesa di Dio!'<a name="FNanchor_335_335" id="FNanchor_335_335"></a><a href="#Footnote_335_335" class="fnanchor">[335]</a> Æneas Sylvius +consumato la robba della Chiesa di Dio!'<a name="FNanchor_335_335" id="FNanchor_335_335"></a><a href="#Footnote_335_335" class="fnanchor">[335]</a> Æneas Sylvius Piccolomini ranked high among the humanists. As an orator, courtier, state secretary, and man of letters, he shared the general qualities of the class to which he belonged. While a fellow-student of @@ -8079,9 +8039,9 @@ subjection of the press to ecclesiastical control.</p> society of private individuals. Accordingly, we find the Roman scholars forming among themselves academies and learned circles. Of these the most eminent took its name from its founder, Julius -Pomponius Lætus. He was a bastard of the princely House of the +Pomponius Lætus. He was a bastard of the princely House of the Sanseverini, to whom, when he became famous and they were anxious for -his friendship, he penned the celebrated epistle: '<i>Pomponius Lætus +his friendship, he penned the celebrated epistle: '<i>Pomponius Lætus cognatis et propinquis suis salutem. Quod petitis fieri non potest. Valete.</i>'<a name="FNanchor_339_339" id="FNanchor_339_339"></a><a href="#Footnote_339_339" class="fnanchor">[339]</a> Pomponius derived his scholarship from Valla, and devoted all his energies to Latin literature, refus<span class="pagenum"><a name="Page_261" id="Page_261">-261-</a></span>ing, it is even @@ -8105,7 +8065,7 @@ preparing new editions of their works. Before daybreak he would light his lantern, take his staff, and wend his way from the Esquiline to the lecture-room, where, however early the hour and however inclement the season, he was sure to find an overflowing audience. Yet it was -not as a professor that Pomponius Lætus acquired his great celebrity, +not as a professor that Pomponius Lætus acquired his great celebrity, and left a lasting impress on the society of Rome. This he did by forming an academy for the avowed purpose of prosecuting the study of Latin antiquities and promoting the adoption of antique customs into @@ -8117,7 +8077,7 @@ solemnities, playing comedies of Plautus, and striving to revive the humours of the old Atellan farces. Of<span class="pagenum"><a name="Page_262" id="Page_262">-262-</a></span> this circle Pontanus and Sannazzaro, Platina, Sabellicus and Molza, Janus Parrhasius, and the future Paul III. were proud to call themselves the members. It is only -from the language in which such men refer to Lætus that we gain a due +from the language in which such men refer to Lætus that we gain a due notion of his influence; for he left but little behind him as an author, and used himself to boast that, like Socrates and Christ, he hoped to be remembered through his pupils. In the year 1468 this Roman @@ -8125,23 +8085,23 @@ academy acquired fresh celebrity by the persecution of Paul II., who partly suspected a political object in its meetings, and partly resented the open heathenism of its leaders. I need not here repeat the tale of his crusade against the scholars. It is enough to mention -that Lætus was imprisoned for a short while, and that in prison he +that Lætus was imprisoned for a short while, and that in prison he wrote an apology for his life, defending himself against a charge of misplaced passion for a young Venetian pupil, and professing the sincerity of his belief in Christianity. After his release from the Castle of S. Angelo he was obliged to discontinue the meetings of his academy, which were not resumed until the reign of Sixtus. Pomponius -Lætus lived on into the Papacy of Alexander, and died in 1498 at the +Lætus lived on into the Papacy of Alexander, and died in 1498 at the age of seventy. His corpse was crowned with a laurel wreath in the Church of Araceli. Forty bishops, together with the foreign ambassadors in Rome and the representatives of the Borgia, who were specially deputed for that purpose, witnessed the ceremony and -listened to the funeral oration. Lætus had desired that his body +listened to the funeral oration. Lætus had desired that his body should be placed in a sarcophagus upon the Appian Way. This wish was not complied with. He was conveyed from Araceli to S. Salvatore in Lauro, and there buried like a Christian.</p> -<p>While the academy of Pomponius Lætus flourished at Rome, that of +<p>While the academy of Pomponius Lætus flourished at Rome, that of Naples was no less active under the presidency of Jovianus Pontanus. It appears to have originated in social gatherings assembled by Beccadelli, and to have held its meetings in a building called after @@ -8201,7 +8161,7 @@ countenance. The physical characteristics of these men and their act of faith are in curious contradiction with the conception we form of them after reading the 'Elegies' and the 'Arcadia.'</p> -<p>The Roman Academy of Pomponius Læetus and the Neapolitan Academy of +<p>The Roman Academy of Pomponius Læetus and the Neapolitan Academy of Pontanus continued to exist after the death of their founders, while similar institutions sprang up in every town of Italy. To speak of these in detail would be quite impossible. With the commencement of @@ -8211,7 +8171,7 @@ called itself <i>I Vignaiuoli</i>. The members, among whom were Berni, La Casa, Firenzuola, Mauro, Molza, assumed titles like <i>L'Agreste</i>, <i>Il Mosto</i>, <i>Il Cotogno</i>, and so forth. The Cardinal Ippolito de' Medici founded a club in Rome for the study of Vitruvius. It met twice in the -week, and was known as <i>Le Virtù</i>. At Bologna the <i>Viridario</i> devoted +week, and was known as <i>Le Virtù</i>. At Bologna the <i>Viridario</i> devoted its energies to the correction of printed texts; the <i>Sitibondi</i> studied law, the <i>Desti</i> cultivated extinct chivalry. Besides these, the one town of Bologna produced <i>Sonnacchiosi</i>, <i>Oziosi</i>, <i>Desiosi</i>, @@ -8272,11 +8232,11 @@ Venice. He was soon afterwards joined by his brother Vindelino (so the Italians write the name) and by Nicholas Jenson, the Frenchman. Florence had no press till 1471, when Bernardo Cennini printed the commentary of Servius on Virgil's 'Bucolics.' The 'Georgics' and -'Æneid' appeared in the following year. To Cennini, however, belongs +'Æneid' appeared in the following year. To Cennini, however, belongs the honour of having been the first Italian to cast his own type. Like many other illustrious artificers, he was by trade a goldsmith; in his address to the reader he styles himself <i>aurifex omnium judicio -præstantissimus</i>, adding, with reference to the typography, <i>expressis +præstantissimus</i>, adding, with reference to the typography, <i>expressis ante calide caracteribus ac deinde fusis literis volumen hoc primum impresserunt</i>. The last sentence of the address should also be quoted: <i>Florentinis ingeniis nil ardui est</i>. Other printers opened workshops @@ -8364,7 +8324,7 @@ Sermoneta, near Velletri. After residing as a client in the princely house of Carpi, he added the name Pio to his patronymic, and signed his publications with the full description, <i>Aldus Pius Manutius Romanus et Philhellen</i>, -<span lang="grc" title="Greek: Aldos ho Manoutios Rômaios kai Philellên">Ἄλδος ὁ Μανούτιος Ῥωμαῖος καὶ Φιλέλλην</span>. He studied Latin at Rome under Gasparino da Verona, and +<span lang="grc" title="Greek: Aldos ho Manoutios Rômaios kai Philellên">Ἄλδος ὁ Μανούτιος Ῥωμαῖος καὶ Φιλέλλην</span>. He studied Latin at Rome under Gasparino da Verona, and Greek at Ferrara under Guarino da Verona, to whom he dedicated his Theocritus in 1495. Having qualified himself for undertaking the work of tutor or professor, according to the custom of the century, and @@ -8388,7 +8348,7 @@ philosophical studies, that he had inherited from his mother, the sister of Giovanni Pico, something of the spirit of Mirandola. When Aldus published his great edition of Aristotle, he inscribed it to his former pupil with a Greek dedication, in which he styled him -<span lang="grc" title="Greek: tô tôn ontôn erastê">τῷ τῶν ὄντων ἐραστῇ</span>. There can be no doubt that Alberto's knowledge +<span lang="grc" title="Greek: tô tôn ontôn erastê">τῷ τῶν ὄντων ἐραστῇ</span>. There can be no doubt that Alberto's knowledge of Greek language and philosophy was far more thorough than that of many more belauded princes of the age. Yet he had but little opportunity for the quiet prosecution of classical studies, or for the @@ -8424,9 +8384,9 @@ Cretan supplied the models for the types; Alopa of Venice was the publisher. It will be remarked that, with the exception of Homer and Theocritus, no true classic of the first magnitude had appeared before the foundation of the Aldine Press. I may also add that the Milanese -Isocrates was really contemporaneous with the Musæus, Galeomyomachia, +Isocrates was really contemporaneous with the Musæus, Galeomyomachia, and Psalter issued by Aldo as precursors of his Greek -library—<span lang="grc" title="Greek: Prodromoi tês Hellênikês bibliothêkês">Πρόδρομοι τῆς Ἑλληνικῆς βιβλιοθήκης</span>. This fact makes his +library—<span lang="grc" title="Greek: Prodromoi tês Hellênikês bibliothêkês">Πρόδρομοι τῆς Ἑλληνικῆς βιβλιοθήκης</span>. This fact makes his thirty-three first editions of all the greatest and most voluminous Greek authors between 1494 and 1515 all the more remarkable.</p> @@ -8442,10 +8402,10 @@ carried on almost entirely by Greeks, and that Greek was the language of his household. The instructions to the binders as to the order of the sheets and mode of stitching were given in Greek; and many curious Greek phrases appear to have sprung up to meet the exigencies of the -new industry. Thus we find <span lang="grc" title="Greek: hina hellênisti syndethêsetai">ἵνα ἑλληνιστὶ συνδεθήσεται</span> for -'Greek stitching,' and <span lang="grc" title="Greek: kattiterinê cheiri">καττιτερίνῃ χειρὶ</span> for 'the type;' +new industry. Thus we find <span lang="grc" title="Greek: hina hellênisti syndethêsetai">ἵνα ἑλληνιστὶ συνδεθήσεται</span> for +'Greek stitching,' and <span lang="grc" title="Greek: kattiterinê cheiri">καττιτερίνῃ χειρὶ</span> for 'the type;' while Aldo himself is described as -<span lang="grc" title="Greek: epheuretê toutôn grammatôn charaktêros hôs eirêtai">ἐφευρέτῃ τούτων γραμμάτων χαρακτῆρος ὡς εἴρηται</span>. The prefaces, almost always composed in +<span lang="grc" title="Greek: epheuretê toutôn grammatôn charaktêros hôs eirêtai">ἐφευρέτῃ τούτων γραμμάτων χαρακτῆρος ὡς εἴρηται</span>. The prefaces, almost always composed in Greek, prove that this language was read currently in Italy, since Aldo relied on numerous purchasers of his large and costly issues. The Greek type, for the casting of which he provided machinery in his own @@ -8508,7 +8468,7 @@ price. No artist was ever more scrupulously bent on giving the best possible form, the utmost accuracy, to every detail of his work. When we consider the beauty of the Aldine volumes, and the critical excellence of their texts, we may fairly be astonished at their -prices. The Musæus was sold for something under one shilling of our +prices. The Musæus was sold for something under one shilling of our money, the Theocritus for something under two shillings. The five<span class="pagenum"><a name="Page_276" id="Page_276">-276-</a></span> volumes which contained the whole of Aristotle, might be purchased for a sum not certainly exceeding 8<i>l.</i> Each volume of the pocket series, @@ -8529,14 +8489,14 @@ editions, that forced him to be economical.</p> <p>The first editions of Greek books published by Aldo deserve to be separately noticed. In 1493, or earlier, appeared the 'Hero and -Leander' of Musæus, a poem that passed, in that uncritical age, for +Leander' of Musæus, a poem that passed, in that uncritical age, for the work of Homer's mythical predecessor.<a name="FNanchor_356_356" id="FNanchor_356_356"></a><a href="#Footnote_356_356" class="fnanchor">[356]</a> In 1495 the first volume of Aristotle saw the light, accompanied by numerous Greek epigrams and<span class="pagenum"><a name="Page_277" id="Page_277">-277-</a></span> a Greek letter of Scipione Fortiguerra, who deplores in it the deaths of Pico, Poliziano, and Ermolao Barbaro. The remaining four volumes followed in 1497 and 1498. In the latter of these years Aldo, aided by his friend Musurus, produced nine comedies of -Aristophanes; the MSS. of the 'Lysistrata' and 'Thesmophoriazusæ' were +Aristophanes; the MSS. of the 'Lysistrata' and 'Thesmophoriazusæ' were afterwards discovered at Urbino, and published by Giunta in 1515. In 1502, Thucydides, Sophocles, and Herodotus appeared, followed in 1503 by Xenophon's 'Hellenics' and Euripides,<a name="FNanchor_357_357" id="FNanchor_357_357"></a><a href="#Footnote_357_357" class="fnanchor">[357]</a> and in 1504 by @@ -8544,12 +8504,12 @@ Demosthenes. After this occurs a lull, occasioned in part by the disturbances ensuing on the League of Blois. In 1508 the list is recontinued with the Greek orators; while 1509 has to show the minor works of Plutarch. Then follows another stoppage due to war. In 1513 -Plato was published, and in 1514 Pindar, Hesychius, and Athenæus.</p> +Plato was published, and in 1514 Pindar, Hesychius, and Athenæus.</p> <p>From the preceding account I have omitted the notice of minor editions as well as reprints. In order to complete the history of the Aldine issue of Greek books, it should be mentioned that Aldo's successors -continued his work by giving Pausanias, Strabo, Æschylus, Galen, +continued his work by giving Pausanias, Strabo, Æschylus, Galen, Hippocrates, and Longinus to the world; so that when the Estiennes of Paris came to glean in the field of the Italian publishers, they only found Anacreon, Maximus Tyrius, and Diodorus Siculus as yet unedited.</p> @@ -8559,7 +8519,7 @@ thus assiduously by Aldo, he continued to send forth Latin and Italian publications from his press. Thus we find that the 'Etna' and the 'Asolani' of Bembo, the collected writings of Poliziano, the 'Hypnerotomachia Poliphili,' the 'Divine Comedy,' the 'Cose Volgari' -of Petrarch, the 'Poetæ<span class="pagenum"><a name="Page_278" id="Page_278">-278-</a></span> Christiani Veteres,' including Prudentius, +of Petrarch, the 'Poetæ<span class="pagenum"><a name="Page_278" id="Page_278">-278-</a></span> Christiani Veteres,' including Prudentius, the poems of Pontanus, the letters of the younger Pliny, the 'Arcadia' of Sannazzaro, Quintilian, Valerius Maximus, and the 'Adagia' of Erasmus were printed, either in first editions or with a beauty of @@ -8608,7 +8568,7 @@ was an honorary member. To this great scholar Aldo dedicated his first edition of Sophocles. Marcus Musurus occupied a post of more practical importance.<a name="FNanchor_362_362" id="FNanchor_362_362"></a><a href="#Footnote_362_362" class="fnanchor">[362]</a> We have seen that his handwriting formed the model of Aldo's Greek type. To his scholarship the editions of Aristophanes, -Plato, Pindar, Hesychius, Athenæus, and Pausanias owed their critical +Plato, Pindar, Hesychius, Athenæus, and Pausanias owed their critical accuracy; while, in concert with Nicolaos Blastos and<span class="pagenum"><a name="Page_280" id="Page_280">-280-</a></span> Zacharias Calliergi, two Cretan printers settled in Venice, he published the first Latin and Greek lexicon.<a name="FNanchor_363_363" id="FNanchor_363_363"></a><a href="#Footnote_363_363" class="fnanchor">[363]</a> It will be observed that the @@ -8702,7 +8662,7 @@ together. As though exhausted by the enormous energy wherewith Florence had acquired and Venice had disseminated Greek culture, the Italians relapsed into apathy. Posterity may be thankful that their pupils, Grocin and Linacre, Reuchlin and Erasmus, the Stephani and -Budæus, had by this time transplanted erudition beyond the Alps, while +Budæus, had by this time transplanted erudition beyond the Alps, while Aldo had secured the literature of ancient Greece against the possibility of destruction.</p> @@ -8719,7 +8679,7 @@ possibility of destruction.</p> Ideal of Life and Manners—Latinisation of Names—Classical Periphrases—Latin Epics on Christian Themes—Paganism—The Court of Leo X.—Honours of the Church given to -Scholars—Ecclesiastical Men of the World—Mæcenases at +Scholars—Ecclesiastical Men of the World—Mæcenases at Rome—Papal and Imperial Rome—Moral Corruption—Social Refinement—The Roman Academy—Pietro Bembo—His Life at Ferrara—At Urbino—Comes to Rome—Employed by @@ -8823,7 +8783,7 @@ the ancient world. It was no small matter that the vices and the virtues, the worldliness and the enthusiasm, of that many-featured age, together with its supreme achievements in art, its ripest productions in literature, should have gradually assumed a classic -form. The standards of moral and æsthetic taste were paganised, though +form. The standards of moral and æsthetic taste were paganised, though the nation at large remained unchanged in Catholicity. It was precisely this discord between the professed religion of the people and the heathenism of its ideal that inspired Savonarola with his @@ -8845,14 +8805,14 @@ strangest expedients of<span class="pagenum"><a name="Page_288" id="Page_288">-2 century, is <i>Jupiter Optimus Maximus</i>; Providence becomes <i>Fatum</i>; the saints are <i>Divi</i>, and their statues <i>simulacra sancta Deorum</i>. Our Lady of Loreto is changed into <i>Dea Lauretana</i>, Peter and Paul into -<i>Dii tutelares Romæ</i>, the souls of the just into <i>Manes pii</i>, and the -Pope's excommunication into <i>Diræ</i>. The Holy Father himself takes the +<i>Dii tutelares Romæ</i>, the souls of the just into <i>Manes pii</i>, and the +Pope's excommunication into <i>Diræ</i>. The Holy Father himself takes the style of <i>Pontifex Maximus</i>; his tiara, by a wild confusion of ideas, is described as <i>infula Romulea</i>. Nuns are Vestals, and cardinals Augurs. For the festivals of the Church periphrases were found, whereof the following may be cited as a fair specimen:<a name="FNanchor_372_372" id="FNanchor_372_372"></a><a href="#Footnote_372_372" class="fnanchor">[372]</a> '<i>Verum -accidit ut eo ipso die, quo domum ejus accesseram, ipse piæ rei caussâ -septem sacrosancta Divûm pulvinaria supplicaturus inviserit; erant +accidit ut eo ipso die, quo domum ejus accesseram, ipse piæ rei caussâ +septem sacrosancta Divûm pulvinaria supplicaturus inviserit; erant enim lustrici dies, quos unoquoque anno quadragenos purificatione consecravit nostra pietas.</i>'</p> @@ -8861,7 +8821,7 @@ reached this point, to read Cicero was of far more importance than to study the Fathers of the Church. Bembo, it is well known, advised Sadoleto to 'avoid the Epistles of S. Paul, lest his barbarous style should spoil your taste: <i>Omitte has nugas, non enim decent gravem -virum tales ineptiæ</i>.' The extent, however, to which formal purism in +virum tales ineptiæ</i>.' The extent, however, to which formal purism in Latinity was carried, may be best observed in the 'Christiad' of Vida, and the poem 'De Partu Virginis' of Sannazzaro.<a name="FNanchor_373_373" id="FNanchor_373_373"></a><a href="#Footnote_373_373" class="fnanchor">[373]</a> Sannazzaro not only invokes the muses of Helicon to sing the birth of Christ, but he @@ -8910,8 +8870,8 @@ tickle the taste of a learned audience by allusions that reminded them of Virgil. The same bathos was reached by Bembo when he invented the paraphrase of 'heavenly zephyr' for the Holy Ghost, and described the Venetian Council bidding a Pope <i>uti fidat diis immortalibus, quorum -vices in terrâ gerit</i>. It is not the profanity of these phrases so -much as their æsthetic emptiness, the discord between the meaning +vices in terrâ gerit</i>. It is not the profanity of these phrases so +much as their æsthetic emptiness, the discord between the meaning intended to be conveyed and the literary form, that strikes a modern critic.</p> @@ -8936,7 +8896,7 @@ Et tibi rite sacrum semper dicemus honorem.</span> <table border="0" cellpadding="2" cellspacing="0" summary="poetry"> <tr> <td> -<span lang="lat"><span style="margin-left: 7.6em;">Nos aspice præsens,</span><br /> +<span lang="lat"><span style="margin-left: 7.6em;">Nos aspice præsens,</span><br /> Pectoribusque tuos castis infunde calores<br /> Adveniens pater, atque animis te te insere nostris.</span> </td> @@ -9005,7 +8965,7 @@ of a great ecclesiastic. Their literary talents, social accomplishments, successes with women, and diplomatic service at the centres of Italian politics brought them still further into notice. Thus Sadoleto's Latin poem on the Laocoon, Bibbiena's 'Calandra,' -Inghirami's acting of the part of Phædra in Seneca's 'Hippolytus,' and +Inghirami's acting of the part of Phædra in Seneca's 'Hippolytus,' and Bembo's friendship with Lucrezia Borgia might be cited as turning-points in the early history of these illustrious prelates. Having thus acquired position by their personal gifts, they travelled @@ -9019,7 +8979,7 @@ addition to the Vatican, Rome<span class="pagenum"><a name="Page_293" id="Page_2 and minor circles. Each cardinal and each ambassador held a jurisdiction independent of the Pope, and not unfrequently in opposition to the ruling power. To found academies, to gather clever -men around them, and to play the part of Mæcenas was the ambition of +men around them, and to play the part of Mæcenas was the ambition of these subordinate princes. During the pontificate of Leo the Cardinals Riario, Giulio de' Medici, Bibbiena, Petrucci, Farnese, Alidosi, and Gonzaga, not to mention others, entertained their own following of @@ -9097,10 +9057,10 @@ Florence and in Rome; while several <span class="err" title="Transcriber's Note: likely 'generations'">general tions</span> devoted to polite studies had produced a race distinguished above all things for its intellectual delicacy. The -effect of this æsthetic atmosphere upon visitors from the North was +effect of this æsthetic atmosphere upon visitors from the North was singularly varied. Luther, who came to see the City of the Saints, found in Rome the sink of all abominations,<span class="pagenum"><a name="Page_296" id="Page_296">-296-</a></span> the very lair of -Antichrist. The <i>comitas</i> and the <i>facetiæ</i> of the prelates were to +Antichrist. The <i>comitas</i> and the <i>facetiæ</i> of the prelates were to him the object of unmitigated loathing. Erasmus, on the contrary, wrote from London that nothing but Lethe could efface his memory of that radiant city—its freedom of discourse, its light, its libraries, @@ -9128,7 +9088,7 @@ descriptions of its members, were distinguished by antique simplicity and good taste, contrasting powerfully with the banquets of mere mundane prelates.<a name="FNanchor_378_378" id="FNanchor_378_378"></a><a href="#Footnote_378_378" class="fnanchor">[378]</a> When Agostino Chigi entertained the Academicians in the Villa Farnesina, he chastened his magnificence to -suit the spirit of their founder, Lætus, and<span class="pagenum"><a name="Page_297" id="Page_297">-297-</a></span> omitted those displays +suit the spirit of their founder, Lætus, and<span class="pagenum"><a name="Page_297" id="Page_297">-297-</a></span> omitted those displays of vulgar pomp that marked his wedding banquet.<a name="FNanchor_379_379" id="FNanchor_379_379"></a><a href="#Footnote_379_379" class="fnanchor">[379]</a></p> <p>The muster-roll of the Academy brings the most eminent wits of Rome @@ -9167,7 +9127,7 @@ which he praises her singing, dancing, playing, and recitation:—</p> <tr> <td> <span lang="lat">Quicquid agis, quicquid loqueris, delectat: et omnes<br /> -<span class="ind1">Præcedunt Charites, subsequiturque decor.</span></span> +<span class="ind1">Præcedunt Charites, subsequiturque decor.</span></span> </td> </tr> </table> @@ -9191,7 +9151,7 @@ much, and in whose service he remained till the Duke's death.<a name="FNanchor_3 Giuliano de' Medici, with whom he lived on terms of intimacy at Urbino, took him to Rome in 1512. The reign of Leo was about to shed new lustre on the Medicean exiles. His victorious exclamation to his -brother,'<i>Godiamoci il Papato poichè Dio ce l'ha dato</i>,' had a ring of +brother,'<i>Godiamoci il Papato poichè Dio ce l'ha dato</i>,' had a ring of promise in it for their numerous friends and<span class="pagenum"><a name="Page_299" id="Page_299">-299-</a></span> clients. Even without the recommendation of Giuliano, it is not likely that Leo would have overlooked a man so wholly after his own heart as Bembo. The qualities @@ -9305,7 +9265,7 @@ eminent men, known by the name of 'Elogia,' were composed in illustration of a picture gallery of portraits collected in his villa. They include not only Italians, but Greeks, Germans, French and English worthies, dead and living notabilities of every kind.<a name="FNanchor_386_386" id="FNanchor_386_386"></a><a href="#Footnote_386_386" class="fnanchor">[386]</a> If -Brantôme had chosen Latin instead of French, he would have made a book +Brantôme had chosen Latin instead of French, he would have made a book not altogether unlike this of Jovius. The versatility of the author was further illustrated by a Latin treatise on Roman fishes, and by an Italian essay on mottoes and devices.<a name="FNanchor_387_387" id="FNanchor_387_387"></a><a href="#Footnote_387_387" class="fnanchor">[387]</a></p> @@ -9363,7 +9323,7 @@ second, less fruitful in literary achievements, embraced his residence among the wits of Leo's circle. At Rome Castiglione adapted himself to the customs of the papal society, penning Latin elegiacs, consorting with artists, and exercising the pleasant patronage of a refined -Mæcenas. His friendship with Raphael is not the least interesting +Mæcenas. His friendship with Raphael is not the least interesting episode in this chapter of his biography. Substantial records of it still remain in the epitaph composed by the courtly scholar on the painter, and in Castiglione's portrait now preserved in the Louvre @@ -9429,7 +9389,7 @@ scholarship may be said to date from the impulse given to these subjects by Aleander, who rose to such fame that he was made Rector of the University. After leaving Paris, he spent some time in Germany, and came first to Rome in 1516 in the train of Erard van der Mark, -Bishop of Lüttich. Here Leo appointed him librarian of the Vatican. +Bishop of Lüttich. Here Leo appointed him librarian of the Vatican. The rest of Aleander's life was spent in the service of the Church. Despatched as <i>nuntius</i> to Germany by Leo in 1520, he vainly attempted, as all students of the Reformation know, to quench the fire @@ -9511,9 +9471,9 @@ an alien land:—</p> <table border="0" cellpadding="2" cellspacing="0" summary="poetry"> <tr> <td> -<span lang="grc" title="Greek: Laskaris allodapê gaiê enikattheto, gaiên">Λάσκαρις ἀλλοδαπῇ γαίῃ ἐνικάτθετο, γαίην</span><br /> -<span class="ind1"><span lang="grc" title="Greek: outi liên xeinên ô xene memphomenos">οὔτι λίην ξείνην ὦ ξένε μεμφόμενος</span>.</span><br /> -<span lang="grc" title="Greek: eureto meilichiên, all' achthetai eiper Achaiois">εὕρετο μειλιχίην, ἄλλ’ ἄχθεται εἴπερ Ἀχαιοῖς</span><br /> +<span lang="grc" title="Greek: Laskaris allodapê gaiê enikattheto, gaiên">Λάσκαρις ἀλλοδαπῇ γαίῃ ἐνικάτθετο, γαίην</span><br /> +<span class="ind1"><span lang="grc" title="Greek: outi liên xeinên ô xene memphomenos">οὔτι λίην ξείνην ὦ ξένε μεμφόμενος</span>.</span><br /> +<span lang="grc" title="Greek: eureto meilichiên, all' achthetai eiper Achaiois">εὕρετο μειλιχίην, ἄλλ’ ἄχθεται εἴπερ Ἀχαιοῖς</span><br /> <span class="ind1"><span lang="grc" title="Greek: oud' eti choun cheuei patris eleutherion">οὐδ’ ἔτι χοῦν χεύει πάτρις ἐλευθέριον</span>.</span> </td> </tr> @@ -9527,7 +9487,7 @@ illustration. Much of this industry was carried on by the academicians, who discussed difficult readings and exchanged opinions at their meetings. Treatises on Roman antiquities, topographical essays, and commentaries on Vitruvius and Frontinus abounded. Amid a -multitude of minor works it will be enough to mention the cyclopædias +multitude of minor works it will be enough to mention the cyclopædias of Andrea Fulvio and Bartolommeo Marliano, the comprehensive collection of inscriptions by Mazochi, and Valeriano's dissertation on the hieroglyphics of the Roman obelisks.<a name="FNanchor_395_395" id="FNanchor_395_395"></a><a href="#Footnote_395_395" class="fnanchor">[395]</a> The greater number of @@ -9566,7 +9526,7 @@ their acts of Vandalism the excuse of utility or even of necessity might have been pleaded. It is, however, singular that no steps were taken to preserve in Rome the bas-reliefs and sculptures of the monuments thus overthrown. Everyone who chose laid hands upon them. -Poggio scraped together what he could; Pomponius Lætus formed a +Poggio scraped together what he could; Pomponius Lætus formed a museum; Lorenzo de' Medici and the Rucellai employed agents to select and ship to Florence choicer fragments. At last the impulse to collect possessed the Popes themselves. The Capitol Museum dates from 1471. @@ -9617,7 +9577,7 @@ of fable. The beautiful myth of Julia's Corpse is our most precious witness to this moment in the history of the Revival.<a name="FNanchor_400_400" id="FNanchor_400_400"></a><a href="#Footnote_400_400" class="fnanchor">[400]</a> At the same time the real intention of classic statuary was better understood. Donatello had not worked in vain for a public, finely tempered to -receive æsthetic influences, and cultivated by two centuries of native +receive æsthetic influences, and cultivated by two centuries of native art. The horsemen of Monte Cavallo ceased to be philosophers. Menander and Poseidippus were no longer reckoned among<span class="pagenum"><a name="Page_314" id="Page_314">-314-</a></span> the saints. In the age of Leo, Carlo Malatesta could not have thrown Virgil's statue into the @@ -9693,13 +9653,13 @@ several styles of architecture—classical, Lombard, Gothic, and modern.<a name="FNanchor_405_405" id="FNanchor_405_405"></a><a href="#Footnote_405_405" class="fnanchor">[405]</a> Some phrases that occur in this exordium deserve to be cited for the light they cast upon the passion which inspired those early excavators. 'Considerando la divinitate di quelli animi antichi -... vedendo quasi il cadavere di quest'alma nobile cittate, che è -stata regia del mondo, così miseramente lacerato ... quanti pontefici +... vedendo quasi il cadavere di quest'alma nobile cittate, che è +stata regia del mondo, così miseramente lacerato ... quanti pontefici hanno permesso le ruine et disfacimenti delli templi antichi, delle statue, delli archi et altri edificii, gloria delli lor fondatori! Quanti hanno comportato che solamente per pigliare terra pozzolana si siano scavati i fondamenti! Onde in poco tempo li edificii sono venuti -a terra. Quanta calcina si è fatta di statue e d'altri ornamenti +a terra. Quanta calcina si è fatta di statue e d'altri ornamenti antichi! che ardirei dire che tutta questa nova Roma, che hor si vede, quanto grande ch'ella vi sia, quanto bella, quanto ornata di pallazzi, di chiese et di altri edificii, sia fabricata di calcina fatta di @@ -9718,7 +9678,7 @@ in the world of letters by his undertaking; and its failure through his untimely end aroused the keenest disappointment. The epigrams quoted below in a footnote express these feelings with more depth of emotion than scholarly elegance.<a name="FNanchor_407_407" id="FNanchor_407_407"></a><a href="#Footnote_407_407" class="fnanchor">[407]</a> How Raphael's design would have<span class="pagenum"><a name="Page_318" id="Page_318">-318-</a></span> -been carried out it is impossible to guess. Archæological zeal is +been carried out it is impossible to guess. Archæological zeal is impotent to stay the march of time, except by sacrifice of much that neglect alone makes venerable; and it may fairly be questioned whether it is wise to lay the hand of the restorer on these relics of the @@ -9795,7 +9755,7 @@ centre here.</p> <p>Sad times, however, were in store for Rome. When Leo's successor read the Latin letters of the Apostolic secretaries, he cried, '<i>Sunt -litteræ unius poetæ</i>;' and after walking through the Belvedere +litteræ unius poetæ</i>;' and after walking through the Belvedere Gallery, he gave vent to his feelings in the famous exclamation, '<i>Sunt idola antiquorum</i>.' The humanists had nothing to expect from such a master. The election of Giulio de' Medici restored the hope @@ -9894,7 +9854,7 @@ Humanists succeeded the age of the Inquisitors and Jesuits.</p> <p>Special Causes for the Practice of Latin Versification in Italy—The Want of an Italian Language—Multitudes of Poetasters—Beccadelli—Alberti's -'Philodoxus'—Poliziano—The 'Sylvæ'—'Nutricia', +'Philodoxus'—Poliziano—The 'Sylvæ'—'Nutricia', 'Rusticus', 'Manto', 'Ambra'—Minor Poems—Pontano—Sannazzaro—Elegies and Epigrams—Christian Epics—Vida's 'Christiad'—Vida's 'Poetica'—Fracastoro—The @@ -9922,7 +9882,7 @@ ignorance, they strove with all their might to seize the thread of culture at the very point where the poets of the Silver Age had dropped it. In the opinion of Northern races it might seem unnatural or unpatriotic to woo the Muses in a dead language; but for Italians -the Camoenæ had not died; on the hills of Latium, where they fell +the Camoenæ had not died; on the hills of Latium, where they fell asleep, they might awake<span class="pagenum"><a name="Page_325" id="Page_325">-325-</a></span> again. Every familiar sight and sound recalled 'the rich Virgilian rustic measure' of the 'Georgics' and 'Bucolics.' Nature had not changed, nor did the poets feel the @@ -10034,7 +9994,7 @@ for himself, and aiming at instruction, he poured forth torrents of hexameters, rough perhaps and over-fluent, yet marked by intellectual energy and copious fancy, in illustration of a modern student's learning. This freedom of handling is shown to best advantage in his -'Sylvæ.'<a name="FNanchor_415_415" id="FNanchor_415_415"></a><a href="#Footnote_415_415" class="fnanchor">[415]</a></p> +'Sylvæ.'<a name="FNanchor_415_415" id="FNanchor_415_415"></a><a href="#Footnote_415_415" class="fnanchor">[415]</a></p> <p>The 'Nutricia' forms an introduction to the history of poetry in general, and carries on its vigorous stream the weight of universal @@ -10046,7 +10006,7 @@ for the miseries of life and as an instrument of culture; their first nurse in the cradle of civilisation was the Muse:—</p> <p class="center"> -<span lang="lat">Musa quies hominum, divomque æterna voluptas.</span><a name="FNanchor_416_416" id="FNanchor_416_416"></a><a href="#Footnote_416_416" class="fnanchor">[416]</a> +<span lang="lat">Musa quies hominum, divomque æterna voluptas.</span><a name="FNanchor_416_416" id="FNanchor_416_416"></a><a href="#Footnote_416_416" class="fnanchor">[416]</a> </p> <p>After characterising the Pagan oracles, the mythical bards of Hellas, @@ -10057,17 +10017,17 @@ delineation of the two chief epic-singers:—</p> <table border="0" cellpadding="2" cellspacing="0" summary="poetry"> <tr> <td> -<span lang="lat">... etenim ut stellas fugere undique cælo,<br /> +<span lang="lat">... etenim ut stellas fugere undique cælo,<br /> Aurea cum radios Hyperionis exeruit fax,<br /> Cernimus, et tenuem velut evanescere lunam;<br /> Sic veterum illustres flagranti obscurat honores<br /> -Lampade Mæonides: unum quem dia canentem<br /> -Facta virum, et sævas æquantem pectine pugnas,<br /> +Lampade Mæonides: unum quem dia canentem<br /> +Facta virum, et sævas æquantem pectine pugnas,<br /> Obstupuit, prorsusque parem confessus Apollo est.<br /> Proximus huic autem, vel ni veneranda senectus<br /> Obstiterit, fortasse prior, canit arma virumque<br /> Vergilius, cui rure sacro, cui gramine pastor<br /> -Ascræus, Siculusque simul cessere volentes.</span><a name="FNanchor_417_417" id="FNanchor_417_417"></a><a href="#Footnote_417_417" class="fnanchor">[417]</a> +Ascræus, Siculusque simul cessere volentes.</span><a name="FNanchor_417_417" id="FNanchor_417_417"></a><a href="#Footnote_417_417" class="fnanchor">[417]</a> </td> </tr> </table> @@ -10079,33 +10039,33 @@ celebrated in the following magniloquent paragraph:—</p> <table border="0" cellpadding="2" cellspacing="0" summary="poetry"> <tr> <td> -<span lang="lat">Aërios procul in tractus, et nubila supra<br /> -Pindarus it Dircæus olor, cui nectare blandæ<br /> -Os tenerum libâstis apes, dum fessa levaret<br /> +<span lang="lat">Aërios procul in tractus, et nubila supra<br /> +Pindarus it Dircæus olor, cui nectare blandæ<br /> +Os tenerum libâstis apes, dum fessa levaret<br /> Membra quiete puer mollem spirantia somnum;<br /> -Sed Tanagræa suo mox jure poetria risit,<br /> +Sed Tanagræa suo mox jure poetria risit,<br /> Irrita qui toto sereret figmenta canistro;<br /> Tum certare auso palmam intercepit opimam<br /> -Æoliis prælata modis atque illice formâ.<br /> -Ille Agathocleâ subnisus voce coronas<br /> -Dixit Olympiacas, et quâ victoribus Isthmos<br /> -Fronde comam, Delphique tegant, Nemeæaque tesqua<br /> +Æoliis prælata modis atque illice formâ.<br /> +Ille Agathocleâ subnisus voce coronas<br /> +Dixit Olympiacas, et quâ victoribus Isthmos<br /> +Fronde comam, Delphique tegant, Nemeæaque tesqua<br /> Lunigenam mentita feram; tum numina divum<br /> Virtutesque, virosque undanti pectore torrens<br /> Provexit, sparsitque pios ad funera questus.<br /> -Frugibus hunc libisque virum Cirrhæus ab arâ<br /> -Phœbus, et accubitu mensæ dignatus honoro est:<br /> +Frugibus hunc libisque virum Cirrhæus ab arâ<br /> +Phœbus, et accubitu mensæ dignatus honoro est:<br /> Panaque pastores solis videre sub antris<br /> Pindarico tacitas mulcentem carmine silvas.<br /> -Inde senem pueri gremio cervice repostâ<br /> +Inde senem pueri gremio cervice repostâ<br /> Infusum, et dulci laxantem corda sopore,<br /> Protinus ad manes, et odoro gramine pictum<br /> -Elysium tacitâ rapuit Proserpina dextrâ.<br /> -Quin etiam hostiles longo post tempore flammæ,<br /> -Quæ septemgeminas populabant undique Thebas,<br /> +Elysium tacitâ rapuit Proserpina dextrâ.<br /> +Quin etiam hostiles longo post tempore flammæ,<br /> +Quæ septemgeminas populabant undique Thebas,<br /> Expavere domum tanti tamen urere vatis,<br /> Et sua posteritas medios quoque tuta per enses<br /> -Sensit inexhaustâ cinerem juvenescere famâ.</span><a name="FNanchor_418_418" id="FNanchor_418_418"></a><a href="#Footnote_418_418" class="fnanchor">[418]</a> +Sensit inexhaustâ cinerem juvenescere famâ.</span><a name="FNanchor_418_418" id="FNanchor_418_418"></a><a href="#Footnote_418_418" class="fnanchor">[418]</a> </td> </tr> </table> @@ -10116,14 +10076,14 @@ Sensit inexhaustâ cinerem juvenescere famâ.</span><a name="FNanchor_418_418" id= <tr> <td> <span lang="lat"><span style="margin-left: 12.5em;">lyricis jam nona poetis</span><br /> -Æolis accedit Sappho, quæ flumina propter<br /> +Æolis accedit Sappho, quæ flumina propter<br /> Pierias legit ungue rosas, unde implicet audax<br /> -Serta Cupido sibi, niveam quæ pectine blando<br /> +Serta Cupido sibi, niveam quæ pectine blando<br /> <span class="pagenum"><a name="Page_331" id="Page_331">-331-</a></span>Cyrinnem, Megaramque simul, cumque Atthide pulchram<br /> Cantat Anactorien, et crinigeram Telesippen;<br /> -Et te conspicuum recidivo flore juventæ<br /> -Miratur revocatque, Phaon, seu munera vectæ<br /> -Puppe tuâ Veneris, seu sic facit herba potentem:<br /> +Et te conspicuum recidivo flore juventæ<br /> +Miratur revocatque, Phaon, seu munera vectæ<br /> +Puppe tuâ Veneris, seu sic facit herba potentem:<br /> Sed tandem Ambracias temeraria saltat in undas.</span><a name="FNanchor_419_419" id="FNanchor_419_419"></a><a href="#Footnote_419_419" class="fnanchor">[419]</a> </td> </tr> @@ -10134,15 +10094,15 @@ poets. His brief notice of the three Attic tragedians is worthy of quotation, if only because it proves what we should suspect from other indications, that the best scholars of the earlier Renaissance paid them little attention. The facts mentioned in the following lines seem -to be derived from the gossip of Athenæus:—</p> +to be derived from the gossip of Athenæus:—</p> <p><span class="pagenum"><a name="Page_332" id="Page_332">-332-</a></span></p> <table border="0" cellpadding="2" cellspacing="0" summary="poetry"> <tr> <td> -<span lang="lat">Æschylus aëriæ casu testudinis ictus,<br /> -Quemque senem meritæ rapuerunt gaudia palmæ,<br /> +<span lang="lat">Æschylus aëriæ casu testudinis ictus,<br /> +Quemque senem meritæ rapuerunt gaudia palmæ,<br /> Quemque tegit rabidis lacerum pia Pella molossis.</span><a name="FNanchor_420_420" id="FNanchor_420_420"></a><a href="#Footnote_420_420" class="fnanchor">[420]</a> </td> </tr> @@ -10162,7 +10122,7 @@ Pulchra Beatricis sub virginis ora volantem:<br /> Quique Cupidineum repetit Petrarcha triumphum:<br /> Et qui bis quinis centum argumenta diebus<br /> Pingit, et obscuri qui semina monstrat amoris:<br /> -Unde tibi immensæ veniunt præconia laudis,<br /> +Unde tibi immensæ veniunt præconia laudis,<br /> Ingeniis opibusque potens Florentia mater.</span><a name="FNanchor_422_422" id="FNanchor_422_422"></a><a href="#Footnote_422_422" class="fnanchor">[422]</a> </td> </tr> @@ -10192,7 +10152,7 @@ Alternare animo, et varias ita nectere curas.</span><a name="FNanchor_423_423" i energy of intellect that carried him on bounding verse through the intricacies of a subject difficult by reason of its scope and magnitude. All his haste is here, his inability to polish or select, -his lava-stream of language hurrying the dross of prose and scoriæ of +his lava-stream of language hurrying the dross of prose and scoriæ of erudition along a burning tide of song. His memory held, as it were, in solution all the matter of antique literature; and when he wrote, he poured details forth in torrents, combining them with critical @@ -10205,18 +10165,18 @@ from the professorial Chair of Rhetoric at Florence, the magnetism of Poliziano's voice and manner supplied just that touch of charm the poem lacks for modern readers; nor was the matter so hackneyed at the end of the fifteenth century as it is now. Lilius Gyraldus, subjecting -the 'Sylvæ' to criticism at a time when Latin poetry had been +the 'Sylvæ' to criticism at a time when Latin poetry had been artistically polished by the best wits of the age of Leo, passed upon them a judgment which may even now be quoted as final.<a name="FNanchor_424_424" id="FNanchor_424_424"></a><a href="#Footnote_424_424" class="fnanchor">[424]</a> 'Poliziano's learning was marvellous, his genius fervent and well-trained, his reading extensive and uninterrupted; yet he appears to<span class="pagenum"><a name="Page_334" id="Page_334">-334-</a></span> have composed his verses with more heat than art, using too little judgment both in the selection of his materials and in the correction -of his style. When, however, you read his 'Sylvæ,' the impression left +of his style. When, however, you read his 'Sylvæ,' the impression left upon your mind will be such that for the moment you will lack nothing.'</p> -<p>The second poem of the 'Sylvæ,' entitled 'Rusticus,' forms an +<p>The second poem of the 'Sylvæ,' entitled 'Rusticus,' forms an induction to the study of bucolic poets, principally Hesiod and Virgil. It is distinguished by more originality and play of fancy than the 'Nutricia;' some of its delineations of landscape and sketches of @@ -10232,9 +10192,9 @@ literary friends, rise before us in these verses:—</p> <tr> <td> <span lang="lat">Talia Fesuleo lentus meditabar in antro,<br /> -Rure suburbano Medicum, quâ mons sacer urbem<br /> -Mæoniam, longique volumina despicit Arni:<br /> -Quâ bonus hospitium felix placidamque quietem<br /> +Rure suburbano Medicum, quâ mons sacer urbem<br /> +Mæoniam, longique volumina despicit Arni:<br /> +Quâ bonus hospitium felix placidamque quietem<br /> Indulget Laurens, Laurens haud ultima Phœbi<br /> Gloria, jactatis Laurens fida anchora Musis;<br /> Qui si certa magis permiserit otia nobis,<br /> @@ -10243,12 +10203,12 @@ Silva meas voces, montanaque saxa loquentur,<br /> Sed tu, si qua fides, tu nostrum forsitan olim,<br /> O mea blanda altrix, non aspernabere carmen,<br /> Quamvis magnorum genitrix Florentia vatum,<br /> -Doctaque me triplici recinet facundia linguâ.</span><a name="FNanchor_425_425" id="FNanchor_425_425"></a><a href="#Footnote_425_425" class="fnanchor">[425]</a> +Doctaque me triplici recinet facundia linguâ.</span><a name="FNanchor_425_425" id="FNanchor_425_425"></a><a href="#Footnote_425_425" class="fnanchor">[425]</a> </td> </tr> </table> -<p>The third canto of the 'Sylvæ' is called 'Manto.' It relates the birth +<p>The third canto of the 'Sylvæ' is called 'Manto.' It relates the birth of Virgil, to whom the Muses gave their<span class="pagenum"><a name="Page_335" id="Page_335">-335-</a></span> several gifts, while the Sibyl of Mantua foretold his future course of life and all the glories he should gain by song. The poem concludes with a rhetorical eulogy of @@ -10260,28 +10220,28 @@ scholarship:—</p> <table border="0" cellpadding="2" cellspacing="0" summary="poetry"> <tr> <td> -<span lang="lat">At manet æternum, et seros excurrit in annos<br /> +<span lang="lat">At manet æternum, et seros excurrit in annos<br /> Vatis opus, dumque in tacito vaga sidera mundo<br /> Fulgebunt, dum sol nigris orietur ab Indis,<br /> -Prævia luciferis aderit dum curribus Eos,<br /> -Dum ver tristis hiems, autumnum proferet æstas,<br /> +Prævia luciferis aderit dum curribus Eos,<br /> +Dum ver tristis hiems, autumnum proferet æstas,<br /> Dumque fluet spirans refluetque reciproca Tethys,<br /> Dum mixta alternas capient elementa figuras,<br /> Semper erit magni decus immortale Maronis,<br /> -Semper inexhaustis ibunt hæc flumina venis,<br /> +Semper inexhaustis ibunt hæc flumina venis,<br /> Semper ab his docti ducentur fontibus haustus,<br /> -Semper odoratos fundent hæc gramina flores,<br /> -Unde piæ libetis apes, unde inclyta nectat<br /> -Serta comis triplici juvenalis Gratia dextrâ.</span><a name="FNanchor_426_426" id="FNanchor_426_426"></a><a href="#Footnote_426_426" class="fnanchor">[426]</a> +Semper odoratos fundent hæc gramina flores,<br /> +Unde piæ libetis apes, unde inclyta nectat<br /> +Serta comis triplici juvenalis Gratia dextrâ.</span><a name="FNanchor_426_426" id="FNanchor_426_426"></a><a href="#Footnote_426_426" class="fnanchor">[426]</a> </td> </tr> </table> <p>Not less ingenious than the poem itself is the elegiac introduction. -Poliziano feigns that when the Minyæ came to<span class="pagenum"><a name="Page_336" id="Page_336">-336-</a></span> Cheiron's cave on +Poliziano feigns that when the Minyæ came to<span class="pagenum"><a name="Page_336" id="Page_336">-336-</a></span> Cheiron's cave on Pelion, and supped with him, Orpheus sang a divine melody, and then the young Achilles took the lyre, and with rude fingers praised the -poet's song. The Minyæ smiled, but Orpheus was touched by the +poet's song. The Minyæ smiled, but Orpheus was touched by the boy-hero's praises. Even so will Maro haply take delight in mine:—</p> <table border="0" cellpadding="2" cellspacing="0" summary="poetry"> @@ -10290,19 +10250,19 @@ boy-hero's praises. Even so will Maro haply take delight in mine:—</p> <span lang="lat">Finis erat dapibus; citharam pius excitat Orpheus,<br /> <span class="ind1">Et movet ad doctas verba canora manus.</span><br /> Conticuere viri, tenuere silentia venti,<br /> -<span class="ind1">Vosque retro cursum mox tenuistis aquæ.</span><br /> -Jam volucres fessis pendere sub æthera pennis,<br /> +<span class="ind1">Vosque retro cursum mox tenuistis aquæ.</span><br /> +Jam volucres fessis pendere sub æthera pennis,<br /> <span class="ind1">Jamque truces videas ora tenere feras.</span><br /> -Decurrunt scopulis auritæ ad carmina quercus,<br /> +Decurrunt scopulis auritæ ad carmina quercus,<br /> <span class="ind1">Nudaque Peliacus culmina motat apex.</span><br /> Et jam materno permulserat omnia cantu,<br /> <span class="ind1">Cum tacuit, querulam deposuitque fidem.</span><br /> Occupat hanc audax, digitosque affringit Achilles,<br /> <span class="ind1">Indoctumque rudi personat ore puer.</span><br /> -Materiam quæris? laudabat carmina blandi<br /> -<span class="ind1">Hospitis, et tantæ murmura magna lyræ.</span><br /> -Riserunt Minyæ: sed enim tibi dicitur, Orpheu,<br /> -<span class="ind1">Hæc pueri pietas grata fuisse nimis.</span><br /> +Materiam quæris? laudabat carmina blandi<br /> +<span class="ind1">Hospitis, et tantæ murmura magna lyræ.</span><br /> +Riserunt Minyæ: sed enim tibi dicitur, Orpheu,<br /> +<span class="ind1">Hæc pueri pietas grata fuisse nimis.</span><br /> Me quoque nunc magni nomen celebrare Maronis,<br /> <span class="ind1">Si qua fides vero est, gaudet et ipse Maro.<a name="FNanchor_427_427" id="FNanchor_427_427"></a><a href="#Footnote_427_427" class="fnanchor">[427]</a></span></span> </td> @@ -10320,10 +10280,10 @@ villa of Cajano:—</p> <table border="0" cellpadding="2" cellspacing="0" summary="poetry"> <tr> <td> -<span lang="lat">Et nos ergo illi gratâ pietate dicamus<br /> +<span lang="lat">Et nos ergo illi gratâ pietate dicamus<br /> Hanc de Pierio contextam flore coronam,<br /> Quam mihi Cajanas inter pulcherrima nymphas<br /> -Ambra dedit patriæ lectam de gramine ripæ;<br /> +Ambra dedit patriæ lectam de gramine ripæ;<br /> Ambra mei Laurentis amor, quem corniger Umbro,<br /> Umbro senex genuit domino gratissimus Arno,<br /> Umbro suo tandem non erepturus ab alveo.</span><a name="FNanchor_428_428" id="FNanchor_428_428"></a><a href="#Footnote_428_428" class="fnanchor">[428]</a> @@ -10331,7 +10291,7 @@ Umbro suo tandem non erepturus ab alveo.</span><a name="FNanchor_428_428" id="FN </tr> </table> -<p>Taking into consideration the purpose fulfilled by Poliziano's 'Sylvæ' +<p>Taking into consideration the purpose fulfilled by Poliziano's 'Sylvæ' in his professorial career, it is impossible to deny their merit. The erudition is borne with ease; it does not clog or overload the poet's impulse. The flattery of Lorenzo is neither fulsome nor unmerited. The @@ -10374,7 +10334,7 @@ for their grace, may be compared almost with Ovid.<a name="FNanchor_432_432" id= his lifetime Pontanus became a classic, and after his death he was imitated by the<span class="pagenum"><a name="Page_339" id="Page_339">-339-</a></span> most ambitious versifiers of the late Renaissance.<a name="FNanchor_433_433" id="FNanchor_433_433"></a><a href="#Footnote_433_433" class="fnanchor">[433]</a> The beauty of South Italian landscape—Sorrento's -orange gardens and Baiæ's waters—passed into the fancy of the +orange gardens and Baiæ's waters—passed into the fancy of the Neapolitan poets, and gave colour to their language. Nor was Pontanus, in spite of his severe studies and gravely-tempered mind, dead to the seductions of this siren. What we admire in Sannazzaro's 'Arcadia' @@ -10401,7 +10361,7 @@ poet:—</p> <tr> <td> <span lang="lat">Ornabam tibi serta domi; Syriumque liquorem<br /> -Ad thalamos geminæ, geminæ, tua cura, sorores<span class="pagenum"><a name="Page_340" id="Page_340">-340-</a></span><br /> +Ad thalamos geminæ, geminæ, tua cura, sorores<span class="pagenum"><a name="Page_340" id="Page_340">-340-</a></span><br /> Fundebant. Quid pro sertis Syrioque liquore<br /> Liquisti? Sine sole dies, sine sidere noctes,<br /> Insomnes noctes.</span><a name="FNanchor_436_436" id="FNanchor_436_436"></a><a href="#Footnote_436_436" class="fnanchor">[436]</a> @@ -10432,9 +10392,9 @@ fame alive on earth when he is dead:—</p> <span lang="lat">Fama ipsa assistens tumulo cum vestibus aureis,<br /> Ore ingens, ac voce ingens, ingentibus alis,<br /> Per populos late ingenti mea nomina plausu<br /> -Vulgabit, titulosque feret per sæcula nostros;<br /> -Plaudentesque meis resonabunt laudibus auræ,<br /> -Vivet et extento celeber Jovianus in ævo.</span><a name="FNanchor_437_437" id="FNanchor_437_437"></a><a href="#Footnote_437_437" class="fnanchor">[437]</a> +Vulgabit, titulosque feret per sæcula nostros;<br /> +Plaudentesque meis resonabunt laudibus auræ,<br /> +Vivet et extento celeber Jovianus in ævo.</span><a name="FNanchor_437_437" id="FNanchor_437_437"></a><a href="#Footnote_437_437" class="fnanchor">[437]</a> </td> </tr> </table> @@ -10443,7 +10403,7 @@ Vivet et extento celeber Jovianus in ævo.</span><a name="FNanchor_437_437" id="F <p>Sannazzaro's own elegies on the joys of love and country life, the descriptions of his boyhood at Salerno, the praises of his Villa -Mergillina, and his meditations among the ruins of Cumæ, are marked by +Mergillina, and his meditations among the ruins of Cumæ, are marked by the same characteristics. Nothing quite so full of sensual enjoyment, so soft, and so voluptuous can be found in the poems of the Florentine and Roman scholars. They deserve study, if only as illustrating the @@ -10475,7 +10435,7 @@ Sannazzaro's style, the epigram on Venice may here be cited:—</p> <span class="ind1">Stare urbem, et toto ponere jura mari:</span><br /> Nunc mihi Tarpeias quantumvis, Jupiter, arces<br /> <span class="ind1">Objice, et illa tui mœnia Martis, ait:</span><br /> -Si Pelago Tybrim præfers, urbem aspice utramque;<br /> +Si Pelago Tybrim præfers, urbem aspice utramque;<br /> <span class="ind1">Illam homines dices, hanc posuisse deos.<a name="FNanchor_440_440" id="FNanchor_440_440"></a><a href="#Footnote_440_440" class="fnanchor">[440]</a></span></span> </td> </tr> @@ -10486,14 +10446,14 @@ Virginis.'<a name="FNanchor_441_441" id="FNanchor_441_441"></a><a href="#Footnot architecture, this frigid epic is to Christian poetry. Leo X. delighted to recognise the Gospel narrative beneath a fancy dress of mythological inventions, and to witness the triumph of classical -scholarship in the holy places of the mediæval faith. To fuse the +scholarship in the holy places of the mediæval faith. To fuse the traditions of Biblical and secular antiquity was, as I have often said, the dream of the Renaissance. What Pico and Ficino attempted in philosophical treatises, the poets sought to effect by form. Religion, attiring herself in classic drapery, threw off the cobwebs of the -Catacombs, and acquired the right of <i>petites entrées</i> at the Vatican. +Catacombs, and acquired the right of <i>petites entrées</i> at the Vatican. It did not signify that she had sacrificed her majesty to fashion, or -that her tunic <i>à la mode antique</i> was badly made. Her rouge and +that her tunic <i>à la mode antique</i> was badly made. Her rouge and spangles enchanted the scholarly Pontiff, who forthwith ordered Vida to compose the 'Christiad,' and gave him a benefice at Frascati in order that he might enjoy a poet's ease. Vida's epic, like @@ -10517,17 +10477,17 @@ addressed to Francis, Dauphin of France, in his Spanish prison:<a name="FNanchor <td> <span lang="lat">Primus ades, Francisce; sacras ne despice Musas,<br /> Regia progenies, cui regum debita sceptra<br /> -Gallorum, cum firma annis accesserit ætas.<br /> -Hæc tibi parva ferunt jam nunc solatia dulces;<br /> -Dum procul a patriâ raptum, amplexuque tuorum,<br /> +Gallorum, cum firma annis accesserit ætas.<br /> +Hæc tibi parva ferunt jam nunc solatia dulces;<br /> +Dum procul a patriâ raptum, amplexuque tuorum,<br /> Ah dolor! Hispanis sors impia detinet oris,<br /> Henrico cum fratre; patris sic fata tulerunt<br /> -Magnanimi, dum fortunâ luctatur iniquâ.<br /> +Magnanimi, dum fortunâ luctatur iniquâ.<br /> Parce tamen, puer, o lacrymis; fata aspera forsan<br /> -Mitescent, aderitque dies lætissima tandem<br /> +Mitescent, aderitque dies lætissima tandem<br /> Post triste exilium patriis cum redditus oris<br /> -Lætitiam ingentem populorum, omnesque per urbes<br /> -Accipies plausus, et lætas undique voces;<br /> +Lætitiam ingentem populorum, omnesque per urbes<br /> +Accipies plausus, et lætas undique voces;<br /> Votaque pro reditu persolvent debita matres.<br /> Interea te Pierides comitentur; in altos<br /> Jam te Parnassi mecum aude attollere lucos.</span><a name="FNanchor_444_444" id="FNanchor_444_444"></a><a href="#Footnote_444_444" class="fnanchor">[444]</a> @@ -10580,7 +10540,7 @@ his personages.</p> <p>It is difficult in a summary to do justice to this portion of Vida's poem. His description of the ideal epic is indeed nothing more or less -than a refined analysis of the 'Æneid;' and students desirous of +than a refined analysis of the 'Æneid;' and students desirous of learning what the Italians of the sixteenth century admired in Virgil will do well to study its acute and sober criticism. A panegyric of Leo closes the second book. From this peroration some lines upon the @@ -10591,10 +10551,10 @@ culture in exchange for independence:—</p> <table border="0" cellpadding="2" cellspacing="0" summary="poetry"> <tr> <td> -<span lang="lat">Dii Romæ indigetes, Trojæ tuque auctor, Apollo<br /> +<span lang="lat">Dii Romæ indigetes, Trojæ tuque auctor, Apollo<br /> Unde genus nostrum cœli se tollit ad astra,<br /> Hanc saltem auferri laudem prohibete Latinis:<br /> -Artibus emineat semper, studiisque Minervæ,<br /> +Artibus emineat semper, studiisque Minervæ,<br /> Italia, et gentes doceat pulcherrima Roma;<br /> Quandoguidem armorum penitus fortuna recessit,<br /> Tanta Italos inter crevit discordia reges;<br /> @@ -10619,12 +10579,12 @@ famous:—</p> <table border="0" cellpadding="2" cellspacing="0" summary="poetry"> <tr> <td> -<span lang="lat">O decus Italiæ! lux o clarissima vatum!<br /> +<span lang="lat">O decus Italiæ! lux o clarissima vatum!<br /> Te colimus, tibi serta damus, tibi thura, tibi aras;<br /> Et tibi rite sacrum semper dicemus honorem<br /> Carminibus memores. Salve, sanctissime vates!<br /> Laudibus augeri tua gloria nil potis ultra,<br /> -Et nostræ nil vocis eget; nos aspice præsens,<br /> +Et nostræ nil vocis eget; nos aspice præsens,<br /> Pectoribusque tuos castis infunde calores<br /> Adveniens, pater, atque animis te te insere nostris.</span><a name="FNanchor_449_449" id="FNanchor_449_449"></a><a href="#Footnote_449_449" class="fnanchor">[449]</a> </td> @@ -10655,7 +10615,7 @@ completely bare of Christianity than Fracastoro. As is well known, he chose the new and terrible disease of the Renaissance for his theme, and gave a name to it that still is current. To speak of Fracastoro's 'Syphilis,' dedicated to Bembo, hailed with acclamation by all Italy, -preferred by Sannazzaro to his own epic, and praised by Julius Cæsar +preferred by Sannazzaro to his own epic, and praised by Julius Cæsar Scaliger as a 'divine poem,' is not easy now. The plague it celebrates appeared at Naples in 1495, and spread like wildfire over Europe, assuming at first the form of an epidemic sparing neither Pope nor @@ -10698,7 +10658,7 @@ health. By attention to these matters the disease may be, if not shunned, at least mitigated. The sovereign remedy of quicksilver demanded fuller illustration; therefore the poet introduces the legendary episode of the shepherd Ilceus, conducted by the nymph -Liparë to the sulphur founts and lakes of mercury beneath Mount Etna. +Liparë to the sulphur founts and lakes of mercury beneath Mount Etna. Ilceus bathed, and was renewed in health. The rigorously didactic intention of Fracastoro is proved by the recipe for a mercurial ointment and the description of salivation that wind up this @@ -10717,7 +10677,7 @@ This leads to the episodical legend of the shepherd Syphilus, who dared to deride the Sun-god, and of the king Alcithous, who accepted divine honours in his stead. The Sun, to requite the insolence of Syphilus, afflicted him with a dreadful sickness. It yielded to no -cure until the nymph Ammericë initiated him in the proper lustral +cure until the nymph Ammericë initiated him in the proper lustral rites, and led him to the tree Hyacus. The poem ends with a panegyric of Guaiacum.</p> @@ -10748,7 +10708,7 @@ faultless versification are wasted upon themes of rank obscenity. The popular celebrity beyond the learned circles for whom it was originally written. We may trace its influence in many infamous Capitoli of the burlesque poets. Bembo excelled in elegiac verse. In a -poem entitled 'De Amicâ a Viro Servatâ,' he treated a +poem entitled 'De Amicâ a Viro Servatâ,' he treated a characteristically Italian subject with something of Ovid's graceful humour.<a name="FNanchor_458_458" id="FNanchor_458_458"></a><a href="#Footnote_458_458" class="fnanchor">[458]</a> A lover complains of living near his mistress, closely watched by her jealous husband. Here, as elsewhere, the morality is @@ -10787,7 +10747,7 @@ Nec mora, cunctanti roseis tot pressa labellis<br /> Arida quot levibus florescit messis aristis,<br /> <span class="ind1">Excita quot vernis floribus halat humus.</span><br /> Maxime, quid dubitas? Si te piget, ipse tuo me<br /> -<span class="ind1">Pone loco: hæc dubitem non ego ferre mala.</span><a name="FNanchor_461_461" id="FNanchor_461_461"></a><a href="#Footnote_461_461" class="fnanchor">[461]</a></span> +<span class="ind1">Pone loco: hæc dubitem non ego ferre mala.</span><a name="FNanchor_461_461" id="FNanchor_461_461"></a><a href="#Footnote_461_461" class="fnanchor">[461]</a></span> </td> </tr> </table> @@ -10809,21 +10769,21 @@ line pays a proper tribute to Poliziano as an Italian poet:—</p> <tr> <td> <span lang="lat">Duceret extincto cum mors Laurente triumphum,<br /> -<span class="ind1">Lætaque pullatis inveheretur equis,</span><br /> +<span class="ind1">Lætaque pullatis inveheretur equis,</span><br /> Respicit insano ferientem pollice chordas,<br /> <span class="ind1">Viscera singultu concutiente, virum.</span><br /> Mirata est, tenuitque jugum; furit ipse, pioque<br /> <span class="ind1">Laurentem cunctos flagitat ore Deos:</span><br /> Miscebat precibus lacrymas, lacrymisque dolorem;<br /> <span class="ind1">Verba ministrabat liberiora dolor.</span><br /> -Risit, et antiquæ non immemor illa querelæ,<br /> -<span class="ind1">Orphei Tartareæ cum patuere viæ,</span><br /> +Risit, et antiquæ non immemor illa querelæ,<br /> +<span class="ind1">Orphei Tartareæ cum patuere viæ,</span><br /> Hic etiam infernas tentat rescindere leges,<br /> <span class="ind1">Fertque suas, dixit, in mea jura manus.</span><br /> Protinus et flentem percussit dura poetam,<br /> <span class="ind1">Rupit et in medio pectora docta sono.</span><br /> Heu sic tu raptus, sic te mala fata tulerunt,<br /> -<span class="ind1">Arbiter Ausoniæ, Politiane, lyræ.<a name="FNanchor_464_464" id="FNanchor_464_464"></a><a href="#Footnote_464_464" class="fnanchor">[464]</a></span></span> +<span class="ind1">Arbiter Ausoniæ, Politiane, lyræ.<a name="FNanchor_464_464" id="FNanchor_464_464"></a><a href="#Footnote_464_464" class="fnanchor">[464]</a></span></span> </td> </tr> </table> @@ -10844,12 +10804,12 @@ his manner:—</p> <table border="0" cellpadding="2" cellspacing="0" summary="poetry"> <tr> <td> -<span lang="lat">Magna Parens, quæ cuncta leves producis in auras,<br /> +<span lang="lat">Magna Parens, quæ cuncta leves producis in auras,<br /> <span class="ind1">Totaque diverso germine picta nites;</span><br /> -Quæ passim arboribus, passim surgentibus herbis,<br /> +Quæ passim arboribus, passim surgentibus herbis,<br /> <span class="ind1">Sufficis omnifero larga alimenta sinu;</span><br /> Excipe languentem puerum, moribundaque membra,<br /> -<span class="ind1">Æternumque tuâ fac, Dea, vivat ope.</span><br /> +<span class="ind1">Æternumque tuâ fac, Dea, vivat ope.</span><br /> Vivet, et ille vetus Zephyro redeunte quotannis<br /> <span class="ind1">In niveo candor flore perennis erit.<a name="FNanchor_467_467" id="FNanchor_467_467"></a><a href="#Footnote_467_467" class="fnanchor">[467]</a></span></span> </td> @@ -10859,7 +10819,7 @@ Vivet, et ille vetus Zephyro redeunte quotannis<br /> <p>The warnings addressed to his mistress in her country rambles, to beware of rustic gods, and the whole eclogue of 'Iolas,' are written in a rich and facile style, that makes us wonder whether some poet of -the Græco-Roman period did not live again in Navagero.<a name="FNanchor_468_468" id="FNanchor_468_468"></a><a href="#Footnote_468_468" class="fnanchor">[468]</a> Only here +the Græco-Roman period did not live again in Navagero.<a name="FNanchor_468_468" id="FNanchor_468_468"></a><a href="#Footnote_468_468" class="fnanchor">[468]</a> Only here and there, as in the<span class="pagenum"><a name="Page_355" id="Page_355">-355-</a></span> case of all this neo-Latin writing, an awkward word or a defective cadence breaks the spell, and reminds us that it was an artificial thing. A few lines forming the exordium to an @@ -10869,8 +10829,8 @@ interest:—</p> <table border="0" cellpadding="2" cellspacing="0" summary="poetry"> <tr> <td> -<span lang="lat">Salve, cura Deûm, mundi felicior ora,<br /> -Formosæ Veneris dulces salvete recessus:<br /> +<span lang="lat">Salve, cura Deûm, mundi felicior ora,<br /> +Formosæ Veneris dulces salvete recessus:<br /> Ut vos post tantos animi mentisque labores<br /> Aspicio, lustroque libens! ut munere vestro<br /> Sollicitas toto depello e pectore curas!</span><a name="FNanchor_469_469" id="FNanchor_469_469"></a><a href="#Footnote_469_469" class="fnanchor">[469]</a> @@ -10922,22 +10882,22 @@ sepulchre:—</p> <td> <span lang="lat">Non operosa peto titulos mihi marmora ponant,<br /> <span class="ind1">Nostra sed accipiat fictilis ossa cadus;</span><br /> -Exceptet gremio quæ mox placidissima tellus,<br /> -<span class="ind1">Immites possint ne nocuisse feræ.</span><br /> -Rivulus hæc circum dissectus obambulet, unda<br /> +Exceptet gremio quæ mox placidissima tellus,<br /> +<span class="ind1">Immites possint ne nocuisse feræ.</span><br /> +Rivulus hæc circum dissectus obambulet, unda<br /> <span class="ind1">Clivoso qualis tramite ducta sonat;</span><br /> -Exiguis stet cæsa notis super ossa sepulta,<br /> +Exiguis stet cæsa notis super ossa sepulta,<br /> <span class="ind1">Nomen et his servet parva tabella meum:</span><br /> Hic jacet ante annos crudeli tabe peremptus<br /> <span class="ind1">Molsa; ter injecto pulvere, pastor, abi.</span><span class="pagenum"><a name="Page_357" id="Page_357">-357-</a></span><br /> Forsitan in putrem longo post tempore glebam<br /> -<span class="ind1">Vertar, et hæc flores induet urna novos;</span><br /> +<span class="ind1">Vertar, et hæc flores induet urna novos;</span><br /> Populus aut potius abruptis artubus alba<br /> -<span class="ind1">Formosâ exsurgam conspicienda comâ.</span><br /> +<span class="ind1">Formosâ exsurgam conspicienda comâ.</span><br /> Scilicet huc diti pecoris comitata magistro<br /> <span class="ind1">Conveniet festo pulchra puella die;</span><br /> -Quæ molles ductet choreas, et veste recinctâ<br /> -<span class="ind1">Ad certos nôrit membra movere modos.<a name="FNanchor_474_474" id="FNanchor_474_474"></a><a href="#Footnote_474_474" class="fnanchor">[474]</a></span></span> +Quæ molles ductet choreas, et veste recinctâ<br /> +<span class="ind1">Ad certos nôrit membra movere modos.<a name="FNanchor_474_474" id="FNanchor_474_474"></a><a href="#Footnote_474_474" class="fnanchor">[474]</a></span></span> </td> </tr> </table> @@ -10960,14 +10920,14 @@ efforts of Bembo's artificial muse. When we read the<span class="pagenum"><a nam <table border="0" cellpadding="2" cellspacing="0" summary="poetry"> <tr> <td> -<span lang="lat">Alcon deliciæ Musarum et Apollinis, Alcon<br /> -Pars animæ, cordis pars Alcon maxima nostri—</span><a name="FNanchor_476_476" id="FNanchor_476_476"></a><a href="#Footnote_476_476" class="fnanchor">[476]</a> +<span lang="lat">Alcon deliciæ Musarum et Apollinis, Alcon<br /> +Pars animæ, cordis pars Alcon maxima nostri—</span><a name="FNanchor_476_476" id="FNanchor_476_476"></a><a href="#Footnote_476_476" class="fnanchor">[476]</a> </td> </tr> </table> <p>we are impelled to question how far Milton owed the form of 'Lycidas' -to these Italian imitations of the Græco-Roman style. What seemed +to these Italian imitations of the Græco-Roman style. What seemed false in tone to Johnson, what still renders that elegy the stumbling-block of taste to immature and unsympathetic students, is the highly artificial form given to natural feeling. Grief clothes @@ -10984,22 +10944,22 @@ through a thin veil of bucolic romance:—</p> <tr> <td> <span lang="lat">Heu miserande puer, fatis surrepte malignis!<br /> -Non ego te posthac, pastorum adstante coronâ,<br /> -Victorem aspiciam volucri certare sagittâ;<br /> -Aut jaculo, aut durâ socios superare palæstrâ.<br /> -Non tecum posthac molli resupinus in umbrâ<br /> -Effugiam longos æstivo tempore soles:<br /> +Non ego te posthac, pastorum adstante coronâ,<br /> +Victorem aspiciam volucri certare sagittâ;<br /> +Aut jaculo, aut durâ socios superare palæstrâ.<br /> +Non tecum posthac molli resupinus in umbrâ<br /> +Effugiam longos æstivo tempore soles:<br /> Non tua vicinos mulcebit fistula montes,<br /> -Docta nec umbrosæ resonabunt carmina valles:<br /> +Docta nec umbrosæ resonabunt carmina valles:<br /> Non tua corticibus toties inscripta Lycoris,<br /> Atque ignis Galatea meus nos jam simul ambos<br /> -Audierint ambæ nostros cantare furores.<br /> +Audierint ambæ nostros cantare furores.<br /> Nos etenim a teneris simul usque huc viximus annis,<br /> -Frigora pertulimusque æstus noctesque diesque,<br /> +Frigora pertulimusque æstus noctesque diesque,<br /> Communique simul sunt parta armenta labore.<span class="pagenum"><a name="Page_359" id="Page_359">-359-</a></span><br /> -Rura mea hæc tecum communia; viximus una:<br /> +Rura mea hæc tecum communia; viximus una:<br /> Te moriente igitur curnam mihi vita relicta est?<br /> -Heu male me ira Deûm patriis abduxit ab oris,<br /> +Heu male me ira Deûm patriis abduxit ab oris,<br /> Ne manibus premerem morientia lumina amicis.</span><a name="FNanchor_477_477" id="FNanchor_477_477"></a><a href="#Footnote_477_477" class="fnanchor">[477]</a> </td> </tr> @@ -11007,7 +10967,7 @@ Ne manibus premerem morientia lumina amicis.</span><a name="FNanchor_477_477" id <p>Castiglione's most polished exercises are written on fictitious subjects in elegiac metre. Thus he feigns a letter from his wife, in -the style of the 'Heroidum Epistolæ,' praying him to beware of Rome's +the style of the 'Heroidum Epistolæ,' praying him to beware of Rome's temptations, and to keep his heart for her.<a name="FNanchor_478_478" id="FNanchor_478_478"></a><a href="#Footnote_478_478" class="fnanchor">[478]</a> Again he warns his mistress to avoid the perils of the sea-beach, where the Tritons roam:—</p> @@ -11017,7 +10977,7 @@ roam:—</p> <td> <span lang="lat">Os informe illis, rictus, oculique minaces,<br /> <span class="ind1">Asperaque anguineo cortice membra rigent:</span><br /> -Barba impexa, ingens, algâ limoque virenti<br /> +Barba impexa, ingens, algâ limoque virenti<br /> <span class="ind1">Oblita, oletque gravi lurida odore coma.<a name="FNanchor_479_479" id="FNanchor_479_479"></a><a href="#Footnote_479_479" class="fnanchor">[479]</a></span></span> </td> </tr> @@ -11043,7 +11003,7 @@ these couplets:—</p> <td> <span lang="lat">O Pater, O Pastor populorum, O maxime mundi<br /> <span class="ind1">Arbiter, humanum qui genus omne regis;</span><br /> -Justitiæ pacisque dator placidæque quietis,<br /> +Justitiæ pacisque dator placidæque quietis,<br /> <span class="ind1">Credita cui soli est vita salusque hominum;</span><br /> Quem Deus ipse Erebi fecit Cœlique potentem,<br /> <span class="ind1">Ut nutu pateant utraque regna tuo!<a name="FNanchor_482_482" id="FNanchor_482_482"></a><a href="#Footnote_482_482" class="fnanchor">[482]</a></span></span> @@ -11061,7 +11021,7 @@ another place Castiglione used the following phrases about Leo:—</p> <table border="0" cellpadding="2" cellspacing="0" summary="poetry"> <tr> <td> -<span lang="lat">Nec culpanda tua est mora, nam præcepta Deorum<br /> +<span lang="lat">Nec culpanda tua est mora, nam præcepta Deorum<br /> <span class="ind1">Non fas, nec tutum est spernere velle homini:</span><br /> Esse tamen fertur clementia tanta Leonis<br /> <span class="ind1">Ut facili humanas audiat ore preces.<a name="FNanchor_483_483" id="FNanchor_483_483"></a><a href="#Footnote_483_483" class="fnanchor">[483]</a></span></span> @@ -11082,10 +11042,10 @@ barbarians, would pay him yearly honours with prayer and praise:—</p> <span lang="lat">Ergo omnes, veluti et Phœbo Panique, quotannis<br /> Pastores certis statuent tibi sacra diebus,<br /> Magne Pater; nostrisque diu cantabere silvis.<br /> -Te rupes, te saxa, cavæ te, Maxime Juli,<br /> +Te rupes, te saxa, cavæ te, Maxime Juli,<br /> Convalles, nemorumque frequens iterabit imago.<br /> -At vero nostris quæcumque in saltibus usquam<br /> -Quercus erit, ut quæque suos dant tempora flores,<br /> +At vero nostris quæcumque in saltibus usquam<br /> +Quercus erit, ut quæque suos dant tempora flores,<br /> Semper erit variis ramos innexa coronis;<br /> Inscriptumque geret felici nomine truncum.<br /> Tum quoties pastum expellet, pastasve reducet<br /> @@ -11096,7 +11056,7 @@ Nullus erit qui non teneros tibi nutriat agnos.<br /> Quin audire preces nisi dedignabere agrestes,<br /> Tu nostra ante Deos in vota vocaberis omnes.<br /> Ipse ego bina tibi solenni altaria ritu,<br /> -Et geminos sacrâ e quercu lauroque virenti<br /> +Et geminos sacrâ e quercu lauroque virenti<br /> Vicino lucos Nanceli in litore ponam.</span><a name="FNanchor_484_484" id="FNanchor_484_484"></a><a href="#Footnote_484_484" class="fnanchor">[484]</a> </td> </tr> @@ -11120,7 +11080,7 @@ Qui potes magnum reserare et idem<br /> </tr> </table> -<p>A more quaint confusion of Latin mythology and mediæval superstition, +<p>A more quaint confusion of Latin mythology and mediæval superstition, more glibly and trippingly conveyed in flimsy verse, can hardly be imagined; and yet even this, I think, is beaten by the ponderous conceits of Fracastoro, who, through the mouth of the goat-footed Pan, @@ -11131,9 +11091,9 @@ Del Monte:—</p> <tr> <td> <span lang="lat">Hoc in Monte Dei pecudes pascentur et agni,<br /> -Graminis æterni pingues et velleris aurei;<br /> -Exsilient et aquæ vivæ, quibus ubera capræ<br /> -Grandia distendant, distendant ubera vaccæ.</span><a name="FNanchor_486_486" id="FNanchor_486_486"></a><a href="#Footnote_486_486" class="fnanchor">[486]</a> +Graminis æterni pingues et velleris aurei;<br /> +Exsilient et aquæ vivæ, quibus ubera capræ<br /> +Grandia distendant, distendant ubera vaccæ.</span><a name="FNanchor_486_486" id="FNanchor_486_486"></a><a href="#Footnote_486_486" class="fnanchor">[486]</a> </td> </tr> </table> @@ -11146,7 +11106,7 @@ Italy:—</p> <table border="0" cellpadding="2" cellspacing="0" summary="poetry"> <tr> <td> -<span lang="lat">Æternis illum numeris ad sidera tollent,<br /> +<span lang="lat">Æternis illum numeris ad sidera tollent,<br /> Heroemque, deumque, salutiferumque vocabunt.</span><a name="FNanchor_487_487" id="FNanchor_487_487"></a><a href="#Footnote_487_487" class="fnanchor">[487]</a> </td> </tr> @@ -11178,7 +11138,7 @@ impossibility of dealing more than superficially with so vast a mass of meritorious mediocrity.</p> <p>One name remains to be rescued from the decent obscurity<span class="pagenum"><a name="Page_364" id="Page_364">-364-</a></span> of the -'Delitiæ Poetarum Italorum.' Marcantonio Flaminio was born at +'Delitiæ Poetarum Italorum.' Marcantonio Flaminio was born at Seravalle in 1498. He came, while yet a young man, to the Court of Leo armed with Latin poetry for his credentials. No better claim on patronage from Pope or cardinal could be preferred in that age of @@ -11213,7 +11173,7 @@ no mere reminiscence of Catullus makes him write—</p> <tr> <td> <span lang="lat">Jam vos revisam, jam juvabit arbores<br /> -<span class="ind1">Manu paternâ consitas</span><br /> +<span class="ind1">Manu paternâ consitas</span><br /> Videre, jam libebit in cubiculo<br /> <span class="ind1">Molles inire somnulos.<a name="FNanchor_493_493" id="FNanchor_493_493"></a><a href="#Footnote_493_493" class="fnanchor">[493]</a></span></span> </td> @@ -11225,11 +11185,11 @@ Videre, jam libebit in cubiculo<br /> <table border="0" cellpadding="2" cellspacing="0" summary="poetry"> <tr> <td> -<span lang="lat">At vos, o Heliconiæ puellæ,<br /> +<span lang="lat">At vos, o Heliconiæ puellæ,<br /> Queis fontes et amœna rura cordi,<br /> -Si carâ mihi luce cariores<br /> +Si carâ mihi luce cariores<br /> Estis, jam miserescite obsecrantis,<br /> -Meque, urbis strepitu tumultuosæ<br /> +Meque, urbis strepitu tumultuosæ<br /> Ereptum, in placido locate agello.</span><a name="FNanchor_494_494" id="FNanchor_494_494"></a><a href="#Footnote_494_494" class="fnanchor">[494]</a> </td> </tr> @@ -11241,10 +11201,10 @@ noise and weariness of Rome:—</p> <table border="0" cellpadding="2" cellspacing="0" summary="poetry"> <tr> <td> -<span lang="lat"><span style="margin-left: 3.5em;">Ipse miser tumultuosâ</span><br /> +<span lang="lat"><span style="margin-left: 3.5em;">Ipse miser tumultuosâ</span><br /> Urbe detinear; tibi benignus<br /> Dedit Jupiter in remoto agello<br /> -Latentem placidâ frui quiete,<br /> +Latentem placidâ frui quiete,<br /> Inter Socraticos libros, et inter<br /> Nymphas et Satyros, nihil profani<br /> Curantem populi leves honores.</span><a name="FNanchor_495_495" id="FNanchor_495_495"></a><a href="#Footnote_495_495" class="fnanchor">[495]</a> @@ -11266,7 +11226,7 @@ Francesco Torriani:<a name="FNanchor_496_496" id="FNanchor_496_496"></a><a href= Ut primum sopor incubans gravabit,<br /> Jucundissime amice, te sub antrum<br /> Ducam, quod croceis tegunt corymbis<br /> -Serpentes hederæ, imminensque laurus<br /> +Serpentes hederæ, imminensque laurus<br /> Suaviter foliis susurrat: at tu<br /> Ne febrim metuas gravedinemve;<br /> Est enim locus innocens: ubi ergo<br /> @@ -11274,7 +11234,7 @@ Hic satis requieveris, legentur<br /> Lusus Virgilii, et Syracusani<br /> Vatis, quo nihil est magis venustum,<br /> Nihil dulcius, ut mihi videtur.<br /> -Cum se fregerit æstus, in virenti<br /> +Cum se fregerit æstus, in virenti<br /> Convalle spatiabimur; sequetur<br /> Brevis cœna; redibis inde ad urbem.</span><a name="FNanchor_497_497" id="FNanchor_497_497"></a><a href="#Footnote_497_497" class="fnanchor">[497]</a> </td> @@ -11294,12 +11254,12 @@ at Rome. To quit the city was his cure:—</p> <table border="0" cellpadding="2" cellspacing="0" summary="poetry"> <tr> <td> -<span lang="lat">Scilicet ut Romæ corruptas fugimus auras,<br /> -Et riguos patriæ montes saltusque salubres<br /> +<span lang="lat">Scilicet ut Romæ corruptas fugimus auras,<br /> +Et riguos patriæ montes saltusque salubres<br /> Venimus, effœtos venit quoque robur in artus:<br /> Diffugit macies, diffugit corpore pallor;<br /> Et somnus vigiles irrepsit blandus ocellos,<br /> -Quem neque desiliens crepitanti rivulus undâ,<br /> +Quem neque desiliens crepitanti rivulus undâ,<br /> Nec Lethea mihi duxere papavera quondam.</span><a name="FNanchor_500_500" id="FNanchor_500_500"></a><a href="#Footnote_500_500" class="fnanchor">[500]</a> </td> </tr> @@ -11322,13 +11282,13 @@ magistrates and commonwealth of Venice:—</p> <span lang="lat">Descripsit ille maximus quondam Plato<br /> Longis suorum ambagibus voluminum,<br /> Quis civitatis optimus foret status:<br /> -Sed hunc ab ipsâ sæculorum origine<br /> +Sed hunc ab ipsâ sæculorum origine<br /> Nec ulla vidit, nec videbit civitas.<br /> At Contarenus optimam rempublicam<br /> Parvi libelli disputationibus<br /> Illam probavit esse, plus millesima<br /> -Quam cernit æstas Adriatico in mari<br /> -Florere pace, litteris, pecuniâ.</span><a name="FNanchor_502_502" id="FNanchor_502_502"></a><a href="#Footnote_502_502" class="fnanchor">[502]</a> +Quam cernit æstas Adriatico in mari<br /> +Florere pace, litteris, pecuniâ.</span><a name="FNanchor_502_502" id="FNanchor_502_502"></a><a href="#Footnote_502_502" class="fnanchor">[502]</a> </td> </tr> </table> @@ -11346,7 +11306,7 @@ These verses are remarkable for their sobriety and strength:—</p> Virtus vivida, comitasque sancta,<br /> Cœleste ingenium, eruditioque<br /> Rara, nectare dulciora verba,<br /> -Summa nobilitas, decora vultûs<br /> +Summa nobilitas, decora vultûs<br /> Majestas, opulenta sed bonorum<br /> Et res et domus usque aperta ad usus.</span><a name="FNanchor_503_503" id="FNanchor_503_503"></a><a href="#Footnote_503_503" class="fnanchor">[503]</a> </td> @@ -11362,10 +11322,10 @@ value to the lines written on his father's death:—</p> <span lang="lat">Vixisti, genitor, bene ac beate,<br /> Nec pauper, neque dives, eruditus<br /> Satis, et satis eloquens, valente<br /> -Semper corpore, mente sanâ, amicis<br /> +Semper corpore, mente sanâ, amicis<br /> Jucundus, pietate singulari.<br /> Nunc lustris bene sexdecim peractis<br /> -Ad divûm proficisceris beatas<br /> +Ad divûm proficisceris beatas<br /> Oras; i, genitor, tuumque natum<br /> Olympi cito siste tecum in arce.</span><a name="FNanchor_504_504" id="FNanchor_504_504"></a><a href="#Footnote_504_504" class="fnanchor">[504]</a> </td> @@ -11383,15 +11343,15 @@ the North Italian scholars:—</p> <span lang="lat">Hos tibi lepidissimos poetas<br /> Dono, tempora quos tulere nostra,<br /> Fortunata nimis, nimis beata<br /> -Nostra tempora, quæ suos Catullos,<br /> +Nostra tempora, quæ suos Catullos,<br /> Tibullos, et Horatios, suosque<br /> Marones genuere. Quis putasset,<br /> -Post tot sæcula tam tenebricosa,<br /> -Et tot Ausoniæ graves ruinas,<br /> +Post tot sæcula tam tenebricosa,<br /> +Et tot Ausoniæ graves ruinas,<br /> Tanta lumina tempore uno in una<br /> -Tam brevi regione Transpadanâ<br /> -Oriri potuisse? quæ vel ipsa<br /> -Sola barbarie queant fugatâ<br /> +Tam brevi regione Transpadanâ<br /> +Oriri potuisse? quæ vel ipsa<br /> +Sola barbarie queant fugatâ<br /> Suum reddere litteris Latinis<br /> Splendorem, veteremque dignitatem.</span><a name="FNanchor_505_505" id="FNanchor_505_505"></a><a href="#Footnote_505_505" class="fnanchor">[505]</a> </td> @@ -11482,7 +11442,7 @@ Church—Irreligion of the Humanists—Gyraldi's Immorality—Want of Fixed Principles—Professional Vanity—Literary Pride—Estimate of Humanistic Literature—Study of Style—Influence of Cicero—Valla's -'Elegantiæ'—Stylistic Puerilities—Value attached to +'Elegantiæ'—Stylistic Puerilities—Value attached to Rhetoric—'Oratore'—Moral Essays—Epistolography—Historics—Critical and Antiquarian Studies—Large Appreciation of Antiquity—Liberal @@ -11553,7 +11513,7 @@ and panegyrics, formed the study of an audience that embraced all cultivated minds in Italy. Thus the current literature of humanism played the same part in the fifteenth century as journalism in the nineteenth, and the humanists had the same kind of coherence in -relation to the public as the <i>quatrième état</i> of modern times. The +relation to the public as the <i>quatrième état</i> of modern times. The respect they inspired as the arbiters of praise and blame, was only equalled by their vast pretensions. Eugenius IV., living at the period of their highest influence, is reported to have said that they were as @@ -11567,7 +11527,7 @@ branches, fulsome and delicate, wholesale and allusive, was developed by them as an art whereby to gain their living. The official history of this period is rendered almost worthless by its sustained note of panegyrical laudation. Our ears are deafened with the eulogies of -petty patrons transformed into Mæcenases, of carpet knights compared +petty patrons transformed into Mæcenases, of carpet knights compared to Leonidas, of tyrants equalled with Augustus, and of generals who never looked on bloodshed tricked out as Hannibals or Scipios. As a pendant to panegyric, the art of abuse reached its climax in the @@ -11616,7 +11576,7 @@ loose lives, were never tired of repeating the commonplaces of the Ciceronian ethics, praising simplicity and self-control with the pen they used for reproducing the scandals of Martial, mingling impudent demands for money and flatteries of debauched despots with panegyrics -of Pætus Thrasea and eulogies of Cincinnatus. Conversely, students of +of Pætus Thrasea and eulogies of Cincinnatus. Conversely, students of eminent sobriety, like Guarino da Verona, thought it no harm to welcome Beccadelli's 'Hermaphroditus' with admiration; while the excellent Nicholas V. spent nine days in perusing the filthy satires @@ -11709,7 +11669,7 @@ acquaints us with the opinion formed in Italy, after a century's experience, of the vices and discordant lives of scholars.<a name="FNanchor_510_510" id="FNanchor_510_510"></a><a href="#Footnote_510_510" class="fnanchor">[510]</a> 'I call God and men to witness,' he writes, 'whether it be possible to find men more affected by immoderate disturbances of soul, by such -emotions as the Greeks called <span lang="grc" title="Greek: pathê">πάθη</span>, or by such desires as +emotions as the Greeks called <span lang="grc" title="Greek: pathê">πάθη</span>, or by such desires as they named <span lang="grc" title="Greek: hormai">ὁρμαὶ</span>, more easily influenced, driven about, and drawn in all directions. No class of human beings are more subject to anger, more puffed up with vanity, more arrogant, more insolent, more @@ -11808,7 +11768,7 @@ to qualify the condemnation passed upon their characters. Taken as a class, they deserve the hardest<span class="pagenum"><a name="Page_383" id="Page_383">-383-</a></span> words that have been said of them. Yet it must not be forgotten that they numbered in their ranks such men as Ambrogio Traversari, Tommaso da Sarzana, Guarino, Jacopo -Antiquari, Vittorino da Feltre, Pomponius Lætus, Ficino, Pico, Fabio +Antiquari, Vittorino da Feltre, Pomponius Lætus, Ficino, Pico, Fabio Calvi, and Aldus Manutius. The bare enumeration of these names will suffice for those who have read the preceding chapters. Piety, sobriety of morals, self-devotion to public interests, the purest @@ -11870,7 +11830,7 @@ like Pico, raised their voices against such trifling, or protested that what a man thought and felt was at least as important as his power of clothing it in rhetoric.</p> -<p>The appearance of Valla's 'Elegantiæ' marked an epoch in the evolution +<p>The appearance of Valla's 'Elegantiæ' marked an epoch in the evolution of this stylistic art. It reached its climax in the work of Bembo. What the humanists intended, they achieved. Purity and perspicuity of language were made conditions of all literature that claimed @@ -11886,11 +11846,11 @@ subjects they chose for illustration. When a man of wit like Annibale Caro could rise to praise the nose of the president before a learned academy in periods of this ineptitude—'Naso perfetto, naso principale, naso divino, naso che benedetto sia fra tutti i nasi; e -benedetta sia quella mamma che vi fece così nasuto, e benedette tutte +benedetta sia quella mamma che vi fece così nasuto, e benedette tutte quelle cose che voi annusate!'<a name="FNanchor_516_516" id="FNanchor_516_516"></a><a href="#Footnote_516_516" class="fnanchor">[516]</a>—we trace no more than a burlesque of humanistic seeking after style. It must, however, be admitted that it is not easy for a less artistic nation to do the Italians justice -in this respect. They derived an æsthetic pleasure from refinements of +in this respect. They derived an æsthetic pleasure from refinements of speech and subtle flavours of expression, while they remained no less conscious than we are that the workman<span class="pagenum"><a name="Page_386" id="Page_386">-386-</a></span>ship surpassed the matter. The proper analogue to their rhetoric may be found in the exquisite but @@ -11936,9 +11896,9 @@ life, and void of actual value, tended to increase the sophistic character of literature. Eloquence, which ought to owe its force to passionate emotion or to gravity of meaning, degenerated into a mere play of words; and to such an extent was verbal cleverness -over-estimated, that a scholar could ascribe the fame of Julius Cæsar +over-estimated, that a scholar could ascribe the fame of Julius Cæsar to his 'Commentaries' rather than his victories.<a name="FNanchor_518_518" id="FNanchor_518_518"></a><a href="#Footnote_518_518" class="fnanchor">[518]</a> It does not seem -to have occurred to him that Pompey would have been glad if Cæsar had +to have occurred to him that Pompey would have been glad if Cæsar had always wielded his pen, and that Brutus would hardly have stabbed a friendly man of letters. When we read a genuine humanistic speech, we find that it is principally composed of trite tales and citations. To @@ -11966,7 +11926,7 @@ his old age he tells how he was laughed at in his youth for assuming the Latin style of <i>thou</i> together with the Roman form of superscription.<a name="FNanchor_519_519" id="FNanchor_519_519"></a><a href="#Footnote_519_519" class="fnanchor">[519]</a> I have already touched upon the currency it gained through the practice of Coluccio Salutato and the teaching of -Gasparino da Barzizza.<a name="FNanchor_520_520" id="FNanchor_520_520"></a><a href="#Footnote_520_520" class="fnanchor">[520]</a> In course of time books of formulæ and +Gasparino da Barzizza.<a name="FNanchor_520_520" id="FNanchor_520_520"></a><a href="#Footnote_520_520" class="fnanchor">[520]</a> In course of time books of formulæ and polite letter-writers were compiled, enabling novices to adopt the Ciceronian mannerism with safety.<a name="FNanchor_521_521" id="FNanchor_521_521"></a><a href="#Footnote_521_521" class="fnanchor">[521]</a> The Papal Curia sanctioned a set of precedents for the guidance of its secretaries, while the @@ -12008,7 +11968,7 @@ students.<a name="FNanchor_523_523" id="FNanchor_523_523"></a><a href="#Footnote <p>Since Cicero had left no specimen of history, the humanists were driven to follow other masters in this branch of literature. Livy was -the author of their predilection. Cæsar supplied them with a model for +the author of their predilection. Cæsar supplied them with a model for the composition of commentaries, and Sallust for concise monographs. Suetonius was followed in such minute studies of character as Decembrio's 'Life of Filippo Maria Visconti.' I do not find that @@ -12030,7 +11990,7 @@ the attainment of more certain knowledge possible. It is not too much to say that modern culture, so far as it is derived from antiquity, owes everything to the indefatigable energy of the humanists. Before the age of printing, scholars had to store their memories with -encyclopædic information, while the very want of a critical method, by +encyclopædic information, while the very want of a critical method, by preventing them from exactly discerning the good and the bad, enabled them to take a broader and more comprehensive view of classical<span class="pagenum"><a name="Page_391" id="Page_391">-391-</a></span> literature than is now at any rate common. Antiquity as a whole—not @@ -12097,7 +12057,7 @@ Middle Ages by the Church, uniting in one confederation of spiritual activity<span class="pagenum"><a name="Page_393" id="Page_393">-393-</a></span> nations widely separated by all that tends to keep the human families apart.</p> -<p>Until quite recently in England, the <i>litteræ humaniores</i> were +<p>Until quite recently in England, the <i>litteræ humaniores</i> were accepted as the soundest training for careers in Church and State, for the learned professions, and for the private duties of gentlemen. If the old ideal is yielding at last to theories of a wider education @@ -12145,7 +12105,7 @@ culture of the race will still be grounded upon humanism: true though it be that the first enthusiasm for antiquity shall never be restored, nor the classics yield that vital nourishment they offered in the spring-time of the modern era. For average students, who have no -special vocation for literature and no æesthetic tastes, it may well +special vocation for literature and no æesthetic tastes, it may well happen that new methods of teaching the classics will have to be invented. Why should they not be read in English versions, and the time expended upon Greek and Latin grammar be thus saved? The practice @@ -12336,11 +12296,11 @@ in Fletcher's <i>Elder Brother</i>.</p></div> <div class="footnote"> <p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> Vespasiano, <i>Vita di Piero de' Pazzi</i>. Compare the -beautiful letter of Æneas Sylvius Piccolomini to his nephew (<i>Ep. +beautiful letter of Æneas Sylvius Piccolomini to his nephew (<i>Ep. Lib.</i> i. 4). He reminds the young man that fair as youth is, and delightful as are the pleasures of the May of life, learning is more fair and knowledge more delightful. 'Non enim Lucifer aut Hesperus tam -pulcher est quam sapientia quæ studiis acquiritur litterarum.'</p></div> +pulcher est quam sapientia quæ studiis acquiritur litterarum.'</p></div> <div class="footnote"> @@ -12356,9 +12316,9 @@ powers between scholarship and poetry, to the injury of the latter.</p></div> <p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> For the low state of criticism, even in a good age, see Aulus Gellius, lib. xiv. cap. vi. He describes the lecture of a -rhetor, <i>quispiam linguæ Latinæ literator</i>, on a passage in the -seventh Æneid. The man's explanation of the word <i>bidentes</i> proves an -almost more than mediæval puerility and ignorance.</p></div> +rhetor, <i>quispiam linguæ Latinæ literator</i>, on a passage in the +seventh Æneid. The man's explanation of the word <i>bidentes</i> proves an +almost more than mediæval puerility and ignorance.</p></div> <div class="footnote"> @@ -12406,7 +12366,7 @@ Greek learning survived in Ireland longer than elsewhere.</p></div> <div class="footnote"> <p><a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18"><span class="label">[18]</span></a> The word Humanism has a German sound, and is in fact -modern. Yet the generic phrase <i>umanità</i> for humanistic culture, and +modern. Yet the generic phrase <i>umanità </i> for humanistic culture, and the name <i>umanista</i> for a professor of humane studies, are both pure Italian. Ariosto, in his seventh satire, line 25, writes—</p> @@ -12417,7 +12377,7 @@ Italian. Ariosto, in his seventh satire, line 25, writes—</p> <div class="footnote"> <p><a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19"><span class="label">[19]</span></a> See the interesting letter to Luca di Penna, <i>De Libris -Ciceronis</i>, p. 946, and compare <i>De Ignorantiâ sui ipsius</i>, &c. p. +Ciceronis</i>, p. 946, and compare <i>De Ignorantiâ sui ipsius</i>, &c. p. 1044. These references, as well as those which follow under the general sign <i>Ibid.</i>, are made to the edition of Petrarch's collected works, Basle, 1581.</p></div> @@ -12426,10 +12386,10 @@ works, Basle, 1581.</p></div> <p><a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20"><span class="label">[20]</span></a> <i>Ibid.</i> p. 948. Cf. the fine letter on the duty of collecting and preserving codices (<i>Fam. Epist.</i> lib. iii. 18, p. -619). 'Aurum, argentum, gemmæ, purpurea vestis, marmorea domus, cultus -ager, pictæ tabulæ, phaleratus sonipes, cæteraque id genus mutam +619). 'Aurum, argentum, gemmæ, purpurea vestis, marmorea domus, cultus +ager, pictæ tabulæ, phaleratus sonipes, cæteraque id genus mutam habent et superficiariam voluptatem: libri medullitus delectant, -colloquuntur, consulunt, et vivâ quâdam nobis atque argutâ +colloquuntur, consulunt, et vivâ quâdam nobis atque argutâ familiaritate junguntur.'</p></div> <div class="footnote"> @@ -12439,32 +12399,32 @@ Varro</i> for an account of a lost MS. of that author. <i>Ibid.</i> p. 708.</p>< <div class="footnote"> -<p><a name="Footnote_22_22" id="Footnote_22_22"></a><a href="#FNanchor_22_22"><span class="label">[22]</span></a> <i>Ibid.</i> p. 948. Cf. <i>De Ignorantiâ</i>, pp. 1053, 1054. +<p><a name="Footnote_22_22" id="Footnote_22_22"></a><a href="#FNanchor_22_22"><span class="label">[22]</span></a> <i>Ibid.</i> p. 948. Cf. <i>De Ignorantiâ</i>, pp. 1053, 1054. See, too, the letter to Nicolaus Syocerus of Constantinople, <i>Epist. Var.</i> xx. p. 998, thanking him for the Homer and the Plato, in which Petrarch gives an account of his slender Greek studies. 'Homerus tuus apud me mutus, immo vero ego apud illum surdus sum. Gaudeo tamen vel -aspectu solo, et sæpe illum amplexus et suspirans dico.... Plato +aspectu solo, et sæpe illum amplexus et suspirans dico.... Plato philosophorum princeps ... nunc tandem tuo munere Philosophorum principi Poetarum princeps asserit. Quis tantis non gaudeat et -glorietur hospitibus?... Græcos spectare, et si nihil aliud, certe +glorietur hospitibus?... Græcos spectare, et si nihil aliud, certe juvat.' The letter urging Boccaccio to translate Homer—'an tuo -studio, meâ impensâ fieri possit, ut Homerus integer bibliothecæ huic, -ubi pridem Græcus habitat, tandem Latinus accedat'—will be +studio, meâ impensâ fieri possit, ut Homerus integer bibliothecæ huic, +ubi pridem Græcus habitat, tandem Latinus accedat'—will be <span class="err" title="Transcriber's Note: original missing 'in'">found</span> <i>Ep. Rer. Sen.</i> lib. iii. 5, p. 775. In another letter, <i>Ep. Rer. Sen.</i> lib. vi. 2, p. 807, he thanks Boccaccio for the Latin version.</p></div> <div class="footnote"> -<p><a name="Footnote_23_23" id="Footnote_23_23"></a><a href="#FNanchor_23_23"><span class="label">[23]</span></a> <i>De Remediis utriusque Fortunæ</i>, p. 43. A plea for +<p><a name="Footnote_23_23" id="Footnote_23_23"></a><a href="#FNanchor_23_23"><span class="label">[23]</span></a> <i>De Remediis utriusque Fortunæ</i>, p. 43. A plea for public as against private collections of useful books. 'Multos in vinculis tenes,' &c.</p></div> <div class="footnote"> <p><a name="Footnote_24_24" id="Footnote_24_24"></a><a href="#FNanchor_24_24"><span class="label">[24]</span></a> See the four books of Invectives, <i>Contra Medicum -quendam</i>, and the treatise <i>De sui ipsius et aliorum Ignorantiâ</i>. Page +quendam</i>, and the treatise <i>De sui ipsius et aliorum Ignorantiâ</i>. Page 1038 of the last dissertation contains a curious list of frivolous questions discussed by the Averrhoists. Cf. the letter on the decadence of true learning, <i>Ep. Var.</i> 31, p. 1020; the letter to a @@ -12474,7 +12434,7 @@ p. 731; two letters on physicians, <i>Epist. Rerum Senilium</i>, lib. xii. astrologers, <i>Epist. Rer. Sen.</i> lib. i. 6, p. 747; a letter to Boccaccio on the same theme, <i>Epist. Rer. Sen.</i> lib. iii. 1, p. 765; another on physicians to Boccaccio, <i>Epist. Rer. Sen.</i> lib. v. 4, p. -796. Cf. the Critique of Alchemy, <i>De Remediis utriusque Fortunæ</i>, p. +796. Cf. the Critique of Alchemy, <i>De Remediis utriusque Fortunæ</i>, p. 93.</p></div> <div class="footnote"> @@ -12482,18 +12442,18 @@ another on physicians to Boccaccio, <i>Epist. Rer. Sen.</i> lib. v. 4, p. <p><a name="Footnote_25_25" id="Footnote_25_25"></a><a href="#FNanchor_25_25"><span class="label">[25]</span></a> In comparing the orator and the poet, Petrarch gives the palm to the former. He thought the perfect rhetorician, capable of expressing sound philosophy with clearness, was rarer than the poet. -See <i>De Remediis utriusque Fortunæ</i>, lib. ii. dial. 102, p. 192.</p></div> +See <i>De Remediis utriusque Fortunæ</i>, lib. ii. dial. 102, p. 192.</p></div> <div class="footnote"> <p><a name="Footnote_26_26" id="Footnote_26_26"></a><a href="#FNanchor_26_26"><span class="label">[26]</span></a> See, among other passages, <i>Inv. contra Medicum</i>, lib. -i. p. 1092. 'Poetæ studium est veritatem veram pulchris velaminibus +i. p. 1092. 'Poetæ studium est veritatem veram pulchris velaminibus adornare.' Cf. p. 905, the paragraph beginning 'Officium est ejus fingere,' &c.</p></div> <div class="footnote"> -<p><a name="Footnote_27_27" id="Footnote_27_27"></a><a href="#FNanchor_27_27"><span class="label">[27]</span></a> See the preface to the <i>Epistolæ Familiares</i>, p. 570. +<p><a name="Footnote_27_27" id="Footnote_27_27"></a><a href="#FNanchor_27_27"><span class="label">[27]</span></a> See the preface to the <i>Epistolæ Familiares</i>, p. 570. 'Scribendi enim mihi vivendique unus (ut auguror) finis erit.'</p></div> <div class="footnote"> @@ -12527,13 +12487,13 @@ verba magistri, puer valde didiceram.' <i>Epist. Fam.</i> lib. iv. 10, p. <div class="footnote"> -<p><a name="Footnote_32_32" id="Footnote_32_32"></a><a href="#FNanchor_32_32"><span class="label">[32]</span></a> 'Ægritudo' is a phrase that constantly recurs in his +<p><a name="Footnote_32_32" id="Footnote_32_32"></a><a href="#FNanchor_32_32"><span class="label">[32]</span></a> 'Ægritudo' is a phrase that constantly recurs in his epistles to indicate a restless, craving habit of the soul. See, too, the whole second book of the <i>De Contemptu Mundi</i>.</p></div> <div class="footnote"> -<p><a name="Footnote_33_33" id="Footnote_33_33"></a><a href="#FNanchor_33_33"><span class="label">[33]</span></a> See the treatise <i>De Vitâ Solitariâ</i>, pp. 223-292, and +<p><a name="Footnote_33_33" id="Footnote_33_33"></a><a href="#FNanchor_33_33"><span class="label">[33]</span></a> See the treatise <i>De Vitâ Solitariâ</i>, pp. 223-292, and the letters on 'Vaucluse,' pp. 691-697.</p></div> <div class="footnote"> @@ -12559,7 +12519,7 @@ invictissime domitorque terrarum popule meus,' p. 712.</p></div> <div class="footnote"> -<p><a name="Footnote_38_38" id="Footnote_38_38"></a><a href="#FNanchor_38_38"><span class="label">[38]</span></a> Epistle to Charles IV., <i>De Pacificandâ Italiâ</i>, p. 531. +<p><a name="Footnote_38_38" id="Footnote_38_38"></a><a href="#FNanchor_38_38"><span class="label">[38]</span></a> Epistle to Charles IV., <i>De Pacificandâ Italiâ</i>, p. 531. This contradiction struck even his most ardent admirers with painful surprise. See Boccaccio quoted in Baldelli's <i>Life</i>, p. 115.</p></div> @@ -12570,7 +12530,7 @@ surprise. See Boccaccio quoted in Baldelli's <i>Life</i>, p. 115.</p></div> <div class="footnote"> <p><a name="Footnote_40_40" id="Footnote_40_40"></a><a href="#FNanchor_40_40"><span class="label">[40]</span></a> This is particularly noticeable in the miscellaneous -collection of essays called <i>De Remediis utriusque Fortunæ</i>, where +collection of essays called <i>De Remediis utriusque Fortunæ</i>, where opposite views on a wide variety of topics are expressed with great dexterity.</p></div> @@ -12618,7 +12578,7 @@ his conversations with Boccaccio thus:—'Nihil aliud quam de Francisco sermones usurpabat, ut nihil avidius nihilque copiosius enarraret. Et eo magis quia tali orationis generi me prospiciebat intentum. Sufficiebat enim nobis Petrarcha solus, et omni posteritati sufficiet -in moralitate sermonis, in eloquentiæ soliditate atque dulcedine, in +in moralitate sermonis, in eloquentiæ soliditate atque dulcedine, in lepore prosarum et in concinnitate metrorum.' <i>Epist. Fam.</i> p. 45.</p></div> <div class="footnote"> @@ -12632,8 +12592,8 @@ lepore prosarum et in concinnitate metrorum.' <i>Epist. Fam.</i> p. 45.</p></div Sen.</i> lib. xi. 9, p. 887, deserves to be read, since it proves that Italian scholars despaired at this time of gaining Greek learning from Constantinople. They were rather inclined to seek it in Calabria. -'Græciam, ut olim ditissimam, sic nunc omnis longe inopem disciplinæ -... quod desperat apud Græcos, non diffidit apud Calabros inveniri +'Græciam, ut olim ditissimam, sic nunc omnis longe inopem disciplinæ +... quod desperat apud Græcos, non diffidit apud Calabros inveniri posse.'</p></div> <div class="footnote"> @@ -12664,14 +12624,14 @@ copyist.</p></div> <div class="footnote"> -<p><a name="Footnote_54_54" id="Footnote_54_54"></a><a href="#FNanchor_54_54"><span class="label">[54]</span></a> <i>De Genealogiâ Deorum</i>; <i>De Casibus Virorum ac Feminarum +<p><a name="Footnote_54_54" id="Footnote_54_54"></a><a href="#FNanchor_54_54"><span class="label">[54]</span></a> <i>De Genealogiâ Deorum</i>; <i>De Casibus Virorum ac Feminarum Illustrium</i>; <i>De Claris Muliebribus</i>; <i>De Montibus, Silvis, Fontibus</i>, &c.</p></div> <div class="footnote"> <p><a name="Footnote_55_55" id="Footnote_55_55"></a><a href="#FNanchor_55_55"><span class="label">[55]</span></a> 'La teologia e la poesia quasi una cosa si possono dire -... la teologia niuna altra cosa è che una poesia d'Iddio.' <i>Vita di +... la teologia niuna altra cosa è che una poesia d'Iddio.' <i>Vita di Dante</i>, p. 59. Cf. <i>Comento sopra Dante</i>, loc. cit. p. 45. The explanation of the Muses referred to above is governed by the same determination to find philosophy in poetry.</p></div> @@ -12702,8 +12662,8 @@ Petrarch, <i>Epist. Rer. Sen.</i> lib. v. 6 and 7, pp. 802-806.</p></div> <div class="footnote"> -<p><a name="Footnote_61_61" id="Footnote_61_61"></a><a href="#FNanchor_61_61"><span class="label">[61]</span></a> See the exhaustive work of Renan, <i>Averroès et -l'Averroïsme</i>.</p></div> +<p><a name="Footnote_61_61" id="Footnote_61_61"></a><a href="#FNanchor_61_61"><span class="label">[61]</span></a> See the exhaustive work of Renan, <i>Averroès et +l'Averroïsme</i>.</p></div> <div class="footnote"> @@ -12718,7 +12678,7 @@ was preserved in this convent.</p></div> <div class="footnote"> <p><a name="Footnote_64_64" id="Footnote_64_64"></a><a href="#FNanchor_64_64"><span class="label">[64]</span></a> Salutato's familiar letters, <i>Lini Coluci Pieri Salutati -Epistolarum Pars Secunda, Florentiæ</i>, <span class="smcap">MDCCXXXXI.</span>, are a valuable +Epistolarum Pars Secunda, Florentiæ</i>, <span class="smcap">MDCCXXXXI.</span>, are a valuable source of information respecting scholarship at the close of the fourteenth century. See especially his letter to Benvenuto da Imola on the death of Petrarch (p. 32), his letter to the same about Petrarch's @@ -12732,12 +12692,12 @@ Magnificus on the literary and philosophical genius of Petrarch (p. <p><a name="Footnote_65_65" id="Footnote_65_65"></a><a href="#FNanchor_65_65"><span class="label">[65]</span></a> 'Galeacius Mediolanensium Princeps crebro auditus est dicere non tam sibi mille Florentinorum equites quam Colucii scripta -nocere.' <i>Pii Secundi Europæ Commentarii</i>, p. 454.</p></div> +nocere.' <i>Pii Secundi Europæ Commentarii</i>, p. 454.</p></div> <div class="footnote"> <p><a name="Footnote_66_66" id="Footnote_66_66"></a><a href="#FNanchor_66_66"><span class="label">[66]</span></a> 'Costui fu de' migliori dittatori di pistole al mondo, -perocchè molti quando ne potevano avere, ne toglieano copie; si +perocchè molti quando ne potevano avere, ne toglieano copie; si piaceano a tutti gl'intendenti: e nelle corte di Re e di signori del mondo, e anchora de' cherici era di lui in questa arte maggiore fama che di alcuno altro uomo.' From the Chronicle of Luca da Scarparia. @@ -12752,7 +12712,7 @@ deserve to be read.</p></div> <div class="footnote"> <p><a name="Footnote_67_67" id="Footnote_67_67"></a><a href="#FNanchor_67_67"><span class="label">[67]</span></a> See the letter of Lionardo Bruni, quoted in <i>Lini Coluci -Pieri Salutati Epistolæ</i>, p. xv. Coluccio's own letter recommending +Pieri Salutati Epistolæ</i>, p. xv. Coluccio's own letter recommending Lionardo to Innocent VII., ib. p. 5, and his numerous familiar letters to Poggio, ib. pp. 13, 173, &c.</p></div> @@ -12760,13 +12720,13 @@ to Poggio, ib. pp. 13, 173, &c.</p></div> <p><a name="Footnote_68_68" id="Footnote_68_68"></a><a href="#FNanchor_68_68"><span class="label">[68]</span></a> 'Certe cogitabam revidere librum, et si quid, ut scribis, vel absonum, vel contra metrorum regulam intolerabile -deprehendissem, curiosius elimare et sicut Naso finxit in Æneida, +deprehendissem, curiosius elimare et sicut Naso finxit in Æneida, singulos libros paucis versiculis quasi in argumenti formam brevissime resumere, et exinde pluribus sumptis exemplis, et per me ipsum correctis et diligenter revisis, unum ad Bononiense gymnasium, unum -Parisiis, unum in Angliam cum meâ epistolâ de libri laudibus -destinare, et unum in Florentiâ ponere in loco celebri,' &c. -<i>Epistolæ</i>, part ii. p. 80.</p></div> +Parisiis, unum in Angliam cum meâ epistolâ de libri laudibus +destinare, et unum in Florentiâ ponere in loco celebri,' &c. +<i>Epistolæ</i>, part ii. p. 80.</p></div> <div class="footnote"> @@ -12801,7 +12761,7 @@ lib. i. cap. 8.</p></div> <div class="footnote"> -<p><a name="Footnote_75_75" id="Footnote_75_75"></a><a href="#FNanchor_75_75"><span class="label">[75]</span></a> 'Hoc anno translatum est Studium Scholarium de Bononiâ +<p><a name="Footnote_75_75" id="Footnote_75_75"></a><a href="#FNanchor_75_75"><span class="label">[75]</span></a> 'Hoc anno translatum est Studium Scholarium de Bononiâ Paduam.' Mur. viii. 372.</p></div> <div class="footnote"> @@ -12832,7 +12792,7 @@ Sicilia</i>, vol. iii. p. 706.</p></div> <div class="footnote"> -<p><a name="Footnote_82_82" id="Footnote_82_82"></a><a href="#FNanchor_82_82"><span class="label">[82]</span></a> 'Volendo attrarre gente alla nostra città, e dilatarla +<p><a name="Footnote_82_82" id="Footnote_82_82"></a><a href="#FNanchor_82_82"><span class="label">[82]</span></a> 'Volendo attrarre gente alla nostra città , e dilatarla in onore, e dare materia a' suoi cittadini d'essere scienziati e virtudiosi.'</p></div> @@ -12868,7 +12828,7 @@ in vol. v. of this work.</p></div> <div class="footnote"> -<p><a name="Footnote_89_89" id="Footnote_89_89"></a><a href="#FNanchor_89_89"><span class="label">[89]</span></a> See Cantù, <i>Storia della Letteratura Italiana</i>, p. 105, +<p><a name="Footnote_89_89" id="Footnote_89_89"></a><a href="#FNanchor_89_89"><span class="label">[89]</span></a> See Cantù, <i>Storia della Letteratura Italiana</i>, p. 105, note.</p></div> <div class="footnote"> @@ -12878,7 +12838,7 @@ quoted by Tiraboschi, vol. iv. lib. i. cap. 4.</p></div> <div class="footnote"> -<p><a name="Footnote_91_91" id="Footnote_91_91"></a><a href="#FNanchor_91_91"><span class="label">[91]</span></a> See Cantù, loc. cit. p. 104.</p></div> +<p><a name="Footnote_91_91" id="Footnote_91_91"></a><a href="#FNanchor_91_91"><span class="label">[91]</span></a> See Cantù, loc. cit. p. 104.</p></div> <div class="footnote"> @@ -12892,26 +12852,26 @@ copyists. Tirab. loc. cit. cap. 4.</p></div> <div class="footnote"> -<p><a name="Footnote_94_94" id="Footnote_94_94"></a><a href="#FNanchor_94_94"><span class="label">[94]</span></a> <i>De Remediis utriusque Fortunæ</i>, lib. i. dial. 43, p. +<p><a name="Footnote_94_94" id="Footnote_94_94"></a><a href="#FNanchor_94_94"><span class="label">[94]</span></a> <i>De Remediis utriusque Fortunæ</i>, lib. i. dial. 43, p. 42. The passage condensed above is so valuable for a right understanding of the humanistic feeling about manuscripts that I shall transcribe portions of the original:—'Libri innumerabiles sunt mihi. Et errores innumeri, quidam ab impiis, alii ab indoctis editi. Illi -quidem religioni ac pietati et divinis literis, hi naturæ ac justitiæ -moribusque et liberalibus disciplinis seu historiæ rerumque gestarum -fidei, omnes autem vero adversi; inque omnibus, et præsertim primis +quidem religioni ac pietati et divinis literis, hi naturæ ac justitiæ +moribusque et liberalibus disciplinis seu historiæ rerumque gestarum +fidei, omnes autem vero adversi; inque omnibus, et præsertim primis ubi majoribus agitur de rebus, et vera falsis immixta sunt, -perdifficilis ac periculosa discretio est ... scriptorum inscitiæ -inertiæque, corrumpenti omnia miscentique ... ignavissima ætas hæc -culinæ solicita, literarum negligens, et coquos examinans non +perdifficilis ac periculosa discretio est ... scriptorum inscitiæ +inertiæque, corrumpenti omnia miscentique ... ignavissima ætas hæc +culinæ solicita, literarum negligens, et coquos examinans non scriptores. Quisquis itaque pingere aliquid in membranis, manuque -calamum versare didicerit, scriptor habebitur, doctrinæ omnis ignarus, +calamum versare didicerit, scriptor habebitur, doctrinæ omnis ignarus, expers ingenii, artis egens ... nunc confusis exemplaribus et exemplis, unum scribere polliciti, sic aliud scribunt ut quod ipse -dictaveris, non agnoscas ... accedunt et scriptores nullâ frenati +dictaveris, non agnoscas ... accedunt et scriptores nullâ frenati lege, nullo probati examine, nullo judicio electi; non fabris, non agricolis, non textoribus, non ulli fere artium tanta licentia est, -cum sit in aliis leve periculum, in hâc grave; sine delectu tamen +cum sit in aliis leve periculum, in hâc grave; sine delectu tamen scribendum ruunt omnes, et cuncta vastantibus certa sunt pretia.'</p></div> <div class="footnote"> @@ -12927,7 +12887,7 @@ scribendum ruunt omnes, et cuncta vastantibus certa sunt pretia.'</p></div> <p><a name="Footnote_97_97" id="Footnote_97_97"></a><a href="#FNanchor_97_97"><span class="label">[97]</span></a> Petrarch in 1350 found a bad copy at Florence. Poggio describes it thus:—'Is vero apud nos antea, Italos dico, ita -laceratus erat, ita circumcisus culpâ, ut opinor, temporum, ut nulla +laceratus erat, ita circumcisus culpâ, ut opinor, temporum, ut nulla forma, nullus habitus hominis in eo recognosceretur.'</p></div> <div class="footnote"> @@ -12993,7 +12953,7 @@ See <a href="http://www.gutenberg.org/ebooks/15400">Vol. I., <i>Age of the Despo <div class="footnote"> -<p><a name="Footnote_109_109" id="Footnote_109_109"></a><a href="#FNanchor_109_109"><span class="label">[109]</span></a> <i>De Capessendâ Libertate</i>, <i>Hortatoria</i>, p. 535.</p></div> +<p><a name="Footnote_109_109" id="Footnote_109_109"></a><a href="#FNanchor_109_109"><span class="label">[109]</span></a> <i>De Capessendâ Libertate</i>, <i>Hortatoria</i>, p. 535.</p></div> <div class="footnote"> @@ -13006,7 +12966,7 @@ See <a href="http://www.gutenberg.org/ebooks/15400">Vol. I., <i>Age of the Despo <div class="footnote"> <p><a name="Footnote_112_112" id="Footnote_112_112"></a><a href="#FNanchor_112_112"><span class="label">[112]</span></a> 'Qui enim hodie magis ignari rerum Romanarum sunt, quam -Romani Cives? Invitus dico, nusquam minus Roma cognoscitur quam Romæ.' +Romani Cives? Invitus dico, nusquam minus Roma cognoscitur quam Romæ.' <i>Epist. Fam.</i> lib. ii. 14, p. 658.</p></div> <div class="footnote"> @@ -13016,9 +12976,9 @@ si cœperit se Roma cognoscere?' <i>Ibid.</i></p></div> <div class="footnote"> -<p><a name="Footnote_114_114" id="Footnote_114_114"></a><a href="#FNanchor_114_114"><span class="label">[114]</span></a> 'Vi vel senio collapsa palatia, quæ quondam ingentes +<p><a name="Footnote_114_114" id="Footnote_114_114"></a><a href="#FNanchor_114_114"><span class="label">[114]</span></a> 'Vi vel senio collapsa palatia, quæ quondam ingentes tenuere viri, diruptos arcus triumphales ... indignum de vestris -marmoreis columnis, de liminibus templorum, ad quæ nuper ex toto orbe +marmoreis columnis, de liminibus templorum, ad quæ nuper ex toto orbe concursus devotissimus fiebat, de imaginibus sepulchrorum, sub quibus patrum vestrorum venerabilis cinis erat, ut reliquas sileam, desidiosa Neapolis adornatur.' <i>Ibid.</i> p. 536.</p></div> @@ -13029,8 +12989,8 @@ Neapolis adornatur.' <i>Ibid.</i> p. 536.</p></div> <table border="0" cellpadding="2" cellspacing="0" summary="poetry"> <tr> <td> -<span lang="lat">'Quanta quod integræ fuit olim gloria Romæ,<br /> -Reliquiæ testantur adhuc, quas longior ætas<br /> +<span lang="lat">'Quanta quod integræ fuit olim gloria Romæ,<br /> +Reliquiæ testantur adhuc, quas longior ætas<br /> Frangere non valuit, non vis, aut ira cruenti<br /> Hostis, ab egregiis franguntur civibus heu, heu.'<br /> <span style="margin-left: 10em">Petr. <i>Epist. Metr.</i> lib. ii. p. 98.</span></span> @@ -13054,17 +13014,17 @@ antiche che al presente si possono vedere in Roma.' Murat. xxiv. <div class="footnote"> <p><a name="Footnote_117_117" id="Footnote_117_117"></a><a href="#FNanchor_117_117"><span class="label">[117]</span></a> My references are made to the Paris edition of 1723. -The first book is sometimes cited under the title of <i>Urbis Romæ +The first book is sometimes cited under the title of <i>Urbis Romæ Descriptio</i>.</p></div> <div class="footnote"> <p><a name="Footnote_118_118" id="Footnote_118_118"></a><a href="#FNanchor_118_118"><span class="label">[118]</span></a> 'Juxta viam Appiam, ad secundum lapidem, integrum vidi -sepulchrum L. Cæciliæ Metellæ, opus egregium, et id ipsum tot sæculis +sepulchrum L. Cæciliæ Metellæ, opus egregium, et id ipsum tot sæculis intactum, ad calcem postea majori ex parte exterminatum' (p. 19). -'Capitolio contigua forum versus superest porticus ædis Concordiæ, +'Capitolio contigua forum versus superest porticus ædis Concordiæ, quam, cum primum ad urbem accessi, vidi fere integram, opere marmoreo -admodum specioso; Romani postmodum, ad calcem ædem totam et porticûs +admodum specioso; Romani postmodum, ad calcem ædem totam et porticûs partem, disjectis columnis, sunt demoliti.' <i>Ibid.</i></p></div> <div class="footnote"> @@ -13073,7 +13033,7 @@ partem, disjectis columnis, sunt demoliti.' <i>Ibid.</i></p></div> <div class="footnote"> -<p><a name="Footnote_120_120" id="Footnote_120_120"></a><a href="#FNanchor_120_120"><span class="label">[120]</span></a> <i>De Pacificandâ Italiâ, Ad Carolum Quartum</i>, p. 531.</p></div> +<p><a name="Footnote_120_120" id="Footnote_120_120"></a><a href="#FNanchor_120_120"><span class="label">[120]</span></a> <i>De Pacificandâ Italiâ, Ad Carolum Quartum</i>, p. 531.</p></div> <div class="footnote"> @@ -13082,8 +13042,8 @@ partem, disjectis columnis, sunt demoliti.' <i>Ibid.</i></p></div> <div class="footnote"> <p><a name="Footnote_122_122" id="Footnote_122_122"></a><a href="#FNanchor_122_122"><span class="label">[122]</span></a> Such, for example, as Boccaccio's description of the -ruins of Baiæ in the <i>Fiammetta</i>, Sannazzaro's lines on the ruins of -Cumæ, Æneas Sylvius Piccolomini's notes on ancient sites in Italy.</p></div> +ruins of Baiæ in the <i>Fiammetta</i>, Sannazzaro's lines on the ruins of +Cumæ, Æneas Sylvius Piccolomini's notes on ancient sites in Italy.</p></div> <div class="footnote"> @@ -13245,7 +13205,7 @@ p. 155.</p></div> <div class="footnote"> <p><a name="Footnote_155_155" id="Footnote_155_155"></a><a href="#FNanchor_155_155"><span class="label">[155]</span></a> Muratori, xix. p. 917. 'Erat in ipso cubiculo picta -Francisci Petrarchæ imago, quam ego quotidie aspiciens, incredibili +Francisci Petrarchæ imago, quam ego quotidie aspiciens, incredibili ardore studiorum ejus incendebar.'</p></div> <div class="footnote"> @@ -13366,21 +13326,21 @@ Renaissance</i>, vol. i.</p></div> <div class="footnote"> <p><a name="Footnote_180_180" id="Footnote_180_180"></a><a href="#FNanchor_180_180"><span class="label">[180]</span></a> <span lang="grc" title="Greek: Gemistos">Γεμιστός</span> -and <span lang="grc" title="Greek: gemizô">γεμίζω</span>, -<span lang="grc" title="Greek: Plêthôn">Πλήθων</span> -and <span lang="grc" title="Greek: plêthô">πλήθω</span>. Both mean to be full. Plato, however, is said to -have been called <span lang="grc" title="Greek: Platôn">Πλάτων</span>, because of his broad shoulders or +and <span lang="grc" title="Greek: gemizô">γεμίζω</span>, +<span lang="grc" title="Greek: Plêthôn">Πλήθων</span> +and <span lang="grc" title="Greek: plêthô">πλήθω</span>. Both mean to be full. Plato, however, is said to +have been called <span lang="grc" title="Greek: Platôn">Πλάτων</span>, because of his broad shoulders or his breadth of eloquence.</p></div> <div class="footnote"> <p><a name="Footnote_181_181" id="Footnote_181_181"></a><a href="#FNanchor_181_181"><span class="label">[181]</span></a> See the translation of Plotinus by Ficino, quoted by -Schultze, p. 76: 'Magnus Cosmus, Senatûs consulto patriæ pater, quo -tempore concilium inter Græcos atque Latinos sub Eugenio pontifice -Florentiæ tractabatur, philosophum Græcum nomine Gemistum, cognomine +Schultze, p. 76: 'Magnus Cosmus, Senatûs consulto patriæ pater, quo +tempore concilium inter Græcos atque Latinos sub Eugenio pontifice +Florentiæ tractabatur, philosophum Græcum nomine Gemistum, cognomine Plethonem quasi Platonem alterum, de mysteriis Platonicis disputantem frequenter audivit. E cujus ore ferventi sic afflatus est protinus, -sic animatus, ut inde Academiam quandam altâ mente conceperit, hanc +sic animatus, ut inde Academiam quandam altâ mente conceperit, hanc opportuno primum tempore pariturus.'</p></div> <div class="footnote"> @@ -13464,10 +13424,10 @@ Milan.</p></div> <p><a name="Footnote_199_199" id="Footnote_199_199"></a><a href="#FNanchor_199_199"><span class="label">[199]</span></a> Of his debt to Niccolo de' Niccoli Poggio speaks with great warmth of feeling in a letter on his death addressed to Carlo Aretino: 'Quem enim patrem habui cui plus debuerim quam Nicolao? Hic -mihi parens ab adolescentiâ, hic postmodum amicus, hic studiorum +mihi parens ab adolescentiâ, hic postmodum amicus, hic studiorum meorum adjutor atque hortator fuit, hic consilio, libris, opibus semper me ut filium et amicum fovit atque adjuvit.'—<i>Poggii Opera, -Basileæ, ex ædibus Henrici Petri</i>, <span class="smcap">MDXXXVIII</span>. p. 342. To this edition +Basileæ, ex ædibus Henrici Petri</i>, <span class="smcap">MDXXXVIII</span>. p. 342. To this edition of Poggio's works my future references are made.</p></div> <div class="footnote"> @@ -13498,7 +13458,7 @@ explanation of the phrase.</p></div> <div class="footnote"> -<p><a name="Footnote_205_205" id="Footnote_205_205"></a><a href="#FNanchor_205_205"><span class="label">[205]</span></a> 'Ibi parcebatur nemini, in lacessendo ea quæ non +<p><a name="Footnote_205_205" id="Footnote_205_205"></a><a href="#FNanchor_205_205"><span class="label">[205]</span></a> 'Ibi parcebatur nemini, in lacessendo ea quæ non probabantur a nobis.'</p></div> <div class="footnote"> @@ -13543,7 +13503,7 @@ its tone of sulky and sated exhaustion.</p></div> <p><a name="Footnote_214_214" id="Footnote_214_214"></a><a href="#FNanchor_214_214"><span class="label">[214]</span></a> The language of the arena was used by these literary combatants. Thus Valla, in the exordium of his <i>Antidote</i>, describes -his weapon of attack in this sentence:—'Hæc est mea fusana, +his weapon of attack in this sentence:—'Hæc est mea fusana, quandoquidem gladiator a gladiatore fieri cogor, et ea duplex et utraque tridens,' p. 9.</p></div> @@ -13560,7 +13520,7 @@ utraque tridens,' p. 9.</p></div> <p><a name="Footnote_217_217" id="Footnote_217_217"></a><a href="#FNanchor_217_217"><span class="label">[217]</span></a> 'Adolescens quidam auditor meus,' says Valla in the <i>Antidotum</i>, p. 2. The story is told at length, p. 151. I quote from -the Cologne edition of 1527: 'Laurentii Vallæ viri clarissimi in +the Cologne edition of 1527: 'Laurentii Vallæ viri clarissimi in Pogium Florentinum antidoti libri quatuor: in eundem alii duo libelli in dialogo conscripti.'</p></div> @@ -13573,7 +13533,7 @@ the scurrility on both sides.</p></div> <p><a name="Footnote_219_219" id="Footnote_219_219"></a><a href="#FNanchor_219_219"><span class="label">[219]</span></a> The invectives against Valla fill from p. 188 to p. 251 of Poggio's collected works. Part of them is devoted to a defence of -his own Latinity, and to a critique of Valla's <i>Elegantiæ</i>. But by far +his own Latinity, and to a critique of Valla's <i>Elegantiæ</i>. But by far the larger part consists of vehement incriminations. Heresy, theft, lying, forgery, cowardice, filthy living of the most odious description, drunkenness, and insane vanity—such are the accusations, @@ -13604,7 +13564,7 @@ called her 'fidelissima fœmina.'</p></div> <p><a name="Footnote_224_224" id="Footnote_224_224"></a><a href="#FNanchor_224_224"><span class="label">[224]</span></a> See Platina's panegyric, quoted by Tiraboschi, vol. vi. lib. i. cap. 3, 22. Platina and Perotti were among his Italian -<i>protégés</i>.</p></div> +<i>protégés</i>.</p></div> <div class="footnote"> @@ -13682,10 +13642,10 @@ legitimate children.</p></div> <p><a name="Footnote_240_240" id="Footnote_240_240"></a><a href="#FNanchor_240_240"><span class="label">[240]</span></a> Poggio, while professing to condemn the scandals of these poems, writes thus:—'Delectatus sum mehercle varietate rerum et -elegantiâ versuum, simulque admiratus sum res adeo impudicas, adeo +elegantiâ versuum, simulque admiratus sum res adeo impudicas, adeo ineptas, tam venuste, tam composite, a te dici, atque ita multa exprimi turpiuscula ut non enarrari sed agi videantur, nec ficta a te -jocandi causâ, ut existimo, sed acta existimari possint.'—<i>Poggii +jocandi causâ, ut existimo, sed acta existimari possint.'—<i>Poggii Opera</i>, p. 349.</p></div> <div class="footnote"> @@ -13707,9 +13667,9 @@ be the author of <i>Hermaphroditus</i>.</p></div> <div class="footnote"> <p><a name="Footnote_244_244" id="Footnote_244_244"></a><a href="#FNanchor_244_244"><span class="label">[244]</span></a> <i>De Dictis et Factis Alphonsi Regis Memorabilibus.</i> -Æneas Sylvius wrote a commentary on this work, in the preface to which +Æneas Sylvius wrote a commentary on this work, in the preface to which he says, 'Legere potui, quod feci, corrigere vero non potui; nam quid -est quod manu tuâ emissum correctione indigeat?'—<i>Opp. Omnia</i>, p. +est quod manu tuâ emissum correctione indigeat?'—<i>Opp. Omnia</i>, p. 472. This proves Beccadelli's reputation as a stylist.</p></div> <div class="footnote"> @@ -13725,7 +13685,7 @@ contrast between him and his Court poet truly astounding.</p></div> <table border="0" cellpadding="2" cellspacing="0" summary="poetry"> <tr> <td> -<span lang="lat">'Hic fæces varias Veneris moresque profanos,<br /> +<span lang="lat">'Hic fæces varias Veneris moresque profanos,<br /> <span class="ind1">Quos natura fugit, me docuisse pudet.'</span></span> </td> </tr> @@ -13734,12 +13694,12 @@ contrast between him and his Court poet truly astounding.</p></div> <div class="footnote"> -<p><a name="Footnote_247_247" id="Footnote_247_247"></a><a href="#FNanchor_247_247"><span class="label">[247]</span></a> 'Romam, in quâ natus sum ... ego sum ortus Romæ -oriundus a Placentiâ.'</p></div> +<p><a name="Footnote_247_247" id="Footnote_247_247"></a><a href="#FNanchor_247_247"><span class="label">[247]</span></a> 'Romam, in quâ natus sum ... ego sum ortus Romæ +oriundus a Placentiâ.'</p></div> <div class="footnote"> -<p><a name="Footnote_248_248" id="Footnote_248_248"></a><a href="#FNanchor_248_248"><span class="label">[248]</span></a> The naïve surprise with which Vespasiano records the +<p><a name="Footnote_248_248" id="Footnote_248_248"></a><a href="#FNanchor_248_248"><span class="label">[248]</span></a> The naïve surprise with which Vespasiano records the fact of virginity (see especially the Lives of Ambrogio Traversari and the Cardinal Portogallo) shows how rare the virtue was, and what mysterious honour it conferred upon men who were reputed to be @@ -13752,7 +13712,7 @@ incident.</p></div> <div class="footnote"> -<p><a name="Footnote_250_250" id="Footnote_250_250"></a><a href="#FNanchor_250_250"><span class="label">[250]</span></a> <i>De falso Creditâ et Ementitâ Constantini Donatione.</i></p></div> +<p><a name="Footnote_250_250" id="Footnote_250_250"></a><a href="#FNanchor_250_250"><span class="label">[250]</span></a> <i>De falso Creditâ et Ementitâ Constantini Donatione.</i></p></div> <div class="footnote"> @@ -13771,13 +13731,13 @@ scholars of Italy dedicated works to Alfonso.</p></div> <div class="footnote"> <p><a name="Footnote_254_254" id="Footnote_254_254"></a><a href="#FNanchor_254_254"><span class="label">[254]</span></a> 'Itaque Chrysoloras, mœrore confectus, compulsus -precibus, malo coactus, filiam tibi nuptui dedit a te corruptam, quæ +precibus, malo coactus, filiam tibi nuptui dedit a te corruptam, quæ si extitisset integra, ne pilum quidem tibi abrasum ab illius natibus ostendisset. An tu illam unquam duxisses uxorem si virginitatem per te servare potuisset? Tibi pater illam dedisset profugo, ignobili, -impuro? Primariis suæ civitatis viris servabatur virgo, non tibi, -insulsæ pecudi et asello bipedali, quem ille domi alebat tanquam canem -aliquem solent senio et ætate confectum.'—<i>Poggii Opp.</i> p. 167. This +impuro? Primariis suæ civitatis viris servabatur virgo, non tibi, +insulsæ pecudi et asello bipedali, quem ille domi alebat tanquam canem +aliquem solent senio et ætate confectum.'—<i>Poggii Opp.</i> p. 167. This is just one of the tales with which the invectives of that day abound, and with which it is almost impossible to deal. It may be true; for certainly Filelfo, by his immorality and grossness in after-life, @@ -13788,9 +13748,9 @@ suggests. Tiraboschi accepts the charge as 'not proven;' but he clearly leans in private against Filelfo, moved by the following passage from a letter of Ambrogio Traversari:—'Nuper a Guarino accepi litteras, quibus vehementer in fortunam invehitur quod filiam Joannis -Chrysoloræ clarissimi viri is acceperit, exterus, qui quantum libet +Chrysoloræ clarissimi viri is acceperit, exterus, qui quantum libet homo bono ingenio, longe tamen illis nuptiis impar esset, queriturque -substomachans uxorem Chrysoloræ venalem habuisse pudicitiam, +substomachans uxorem Chrysoloræ venalem habuisse pudicitiam, mœchumque ante habuisse quam socerum.' Vol. vi. lib. iii. cap. v. 21. All that can be said now is that Filelfo's own morality and the corruption of Byzantine society render a story believed by Guarino and @@ -13810,33 +13770,33 @@ the museums and bookshops of Byzantium must have been open, could then collect, that I will transcribe it:—'Qui mihi nostri in Italiam libri gesti sunt, horum nomina ad te scribo: alios autem nonnullos per primas ex Byzantio Venetorum naves opperior. Hi autem sunt Plotinus, -Ælianus, Aristides, Dionysius Halicarnasseus, Strabo Geographus, +Ælianus, Aristides, Dionysius Halicarnasseus, Strabo Geographus, Hermogenes, Aristotelis Rhetorice, Dionysius Halicarnasseus de Numeris -et Characteribus, Herodotus, Dio Chrysostomus, Appollonius Pergæus, -Thucydides, Plutarchi Moralia, Proclus in Platonem, Philo Judæus, +et Characteribus, Herodotus, Dio Chrysostomus, Appollonius Pergæus, +Thucydides, Plutarchi Moralia, Proclus in Platonem, Philo Judæus, Ethica Aristotelis, Ejus magna Moralia et Eudemia, et Œconomica et -Politica, quædam Theophrasti Opuscula, Homeri Ilias, Odyssea, -Philostrati de Vitâ Appollonii, Orationes Libanii, et aliqui Sermones -Luciani, Pindarus, Aratus, Euripidis Tragœdiæ Septem, Theocritus, +Politica, quædam Theophrasti Opuscula, Homeri Ilias, Odyssea, +Philostrati de Vitâ Appollonii, Orationes Libanii, et aliqui Sermones +Luciani, Pindarus, Aratus, Euripidis Tragœdiæ Septem, Theocritus, Hesiodus, Suidas, Phalaridis, Hippocratis, Platonis et multorum ex -veteribus Philosophis Epistolæ, Demosthenes, Æschinis Orationes et -Epistolæ, Pleraque Xenophontis Opera, Una Lysiæ Oratio, Orphei +veteribus Philosophis Epistolæ, Demosthenes, Æschinis Orationes et +Epistolæ, Pleraque Xenophontis Opera, Una Lysiæ Oratio, Orphei Argonautica et Hymni, Callimachus, Aristoteles de Historiis Animalium, -Physica, et Metaphysica, et de Animâ, de Partibus Animalium, et alia -quædam, Polybius, Nonnulli Sermones Chrysostomi, Dionysiaca, et alii -Poetæ plurimi. Habes qui mihi sint, et his utere æque ac tuis.'</p></div> +Physica, et Metaphysica, et de Animâ, de Partibus Animalium, et alia +quædam, Polybius, Nonnulli Sermones Chrysostomi, Dionysiaca, et alii +Poetæ plurimi. Habes qui mihi sint, et his utere æque ac tuis.'</p></div> <div class="footnote"> <p><a name="Footnote_257_257" id="Footnote_257_257"></a><a href="#FNanchor_257_257"><span class="label">[257]</span></a> 'Unum Philelphus audet affirmare, vel insaniente -Candido, neminem esse hâc tempestate, nec fuisse unquam apud Latinos, -quantum constat ex omni hominum memoriâ, qui præter se unum idem unus -tenuerit exercuitque et Græcam pariter et Latinam orationem in omni -dicendi genere et prosâ et versu. Tu si quidem habeas alterum, memora. +Candido, neminem esse hâc tempestate, nec fuisse unquam apud Latinos, +quantum constat ex omni hominum memoriâ, qui præter se unum idem unus +tenuerit exercuitque et Græcam pariter et Latinam orationem in omni +dicendi genere et prosâ et versu. Tu si quidem habeas alterum, memora. Quid taces, homo miserrime?' Letter to Piero Candido Decembrio. Cf. what P.C. Decembrio wrote to Poggio in 1453:—'Dixit (<i>i.e.</i> -Philelphus) enim neminem litteras scire præter ipsum, alios -semilatinos et semigræcos esse, se autem principatum inter stultos +Philelphus) enim neminem litteras scire præter ipsum, alios +semilatinos et semigræcos esse, se autem principatum inter stultos obtinere.' Rosmini, vol. iii. p. 150.</p></div> <div class="footnote"> @@ -13848,10 +13808,10 @@ obtinere.' Rosmini, vol. iii. p. 150.</p></div> <td> <span lang="lat">'Quod si Virgilius superat me carminis ullis<br /> <span class="ind1">Laudibus, orator ille ego sum melior.</span><br /> -Sin Tulli eloquio præstat facundia nostro,<br /> +Sin Tulli eloquio præstat facundia nostro,<br /> <span class="ind1">Versibus ille meis cedit ubique minor.</span><br /> -Adde quod et linguâ possum hæc præstare Pelasgâ<br /> -<span class="ind1">Et Latiâ. Talem quem mihi des alium?'</span></span> +Adde quod et linguâ possum hæc præstare Pelasgâ<br /> +<span class="ind1">Et Latiâ. Talem quem mihi des alium?'</span></span> </td> </tr> </table> @@ -13867,7 +13827,7 @@ Ambrogio Traversari, and Palla Strozzi.</p></div> <div class="footnote"> -<p><a name="Footnote_260_260" id="Footnote_260_260"></a><a href="#FNanchor_260_260"><span class="label">[260]</span></a> Quoted by Cantù, p. 128.</p></div> +<p><a name="Footnote_260_260" id="Footnote_260_260"></a><a href="#FNanchor_260_260"><span class="label">[260]</span></a> Quoted by Cantù, p. 128.</p></div> <div class="footnote"> @@ -13896,10 +13856,10 @@ confession of this bravo.</p></div> <p><a name="Footnote_266_266" id="Footnote_266_266"></a><a href="#FNanchor_266_266"><span class="label">[266]</span></a> The original source of information concerning Filelfo's quarrels with the Florentines is his Satires, divided into ten books -or decades, each consisting of ten satires or hecatostichæ of one +or decades, each consisting of ten satires or hecatostichæ of one hundred verses each. In the copy of this book, printed at Paris, 1508, by Robert and John Gourmont, these virulent libels are called 'Divinum -Francisci Philelphi Poetæ Christiani Satyrarum Opus.' As their motto +Francisci Philelphi Poetæ Christiani Satyrarum Opus.' As their motto the publishers give these sentences:—'Finis laus Deo, Spes mea Jesus.' For the abuse of the Medicean circle see Dec. i. Hec. 5; Dec. i. Hec. 6; Dec. ii. Hec. 1, 3, 7; Dec. iii. Hec. 10; Dec. vi. 10; Dec. @@ -14001,7 +13961,7 @@ all live.</p></div> <div class="footnote"> <p><a name="Footnote_273_273" id="Footnote_273_273"></a><a href="#FNanchor_273_273"><span class="label">[273]</span></a> A curious sign of current feeling is that Filelfo -frequently boasted of being <span lang="grc" title="Greek: triorchês">τριόρχης</span>. See Rosmini, i. p. 15, +frequently boasted of being <span lang="grc" title="Greek: triorchês">τριόρχης</span>. See Rosmini, i. p. 15, and the verse quoted, <i>ib.</i> p. 113. He mentioned two natural children in his will and had many more. Rosmini, vol. iii. p. 78.</p></div> @@ -14019,7 +13979,7 @@ begging, I transcribe the following elegy (Rosmini, vol. ii. p. <table border="0" cellpadding="2" cellspacing="0" summary="poetry"> <tr> <td> -<span lang="lat">'Hæc autem altisone dum carmina celsius effert<br /> +<span lang="lat">'Hæc autem altisone dum carmina celsius effert<br /> <span class="ind1">Defecisse suo sentit ab ore tubam,</span><br /> Nam quia magnifici data non est copia nummi<br /> <span class="ind1">Cogitur huic uti carmine raucidulo.</span><br /> @@ -14035,7 +13995,7 @@ Ingenium spurco suevit languescere vino,<br /> expressed in a letter to his treasurer (<i>ib.</i> p. 295):—'Noi per niuno modo el vogliamo perdere, la qual cosa seguirebbe quando gli paresse essere deluso, e non potesse seguitare per manchamento delli dicti 250 -fiorini la nobilissima opera per lui in nostra gloria comenzata nè +fiorini la nobilissima opera per lui in nostra gloria comenzata nè suplire agli altri suoi bisogni.' The <i>tuba</i> and the <i>nobilissima opera</i> both refer to Filelfo's Sforziad.</p></div> @@ -14092,7 +14052,7 @@ educated at Perugia, entered the service of the Papal Legate Battista Savelli as secretary at Bologna, and afterwards received the post of secretary and diplomatic writer to the Sforza family at Milan. The Duke Galeazzo Maria was his first master. At Milan he played the part -of an amiable and refined Mæcenas, while he carried on a +of an amiable and refined Mæcenas, while he carried on a correspondence in Latin—still delightful to read—with Poliziano and all the greatest scholars of his age. His biography, written at some length, with valuable miscellaneous appendices by Vermiglioli, was @@ -14109,7 +14069,7 @@ published at Perugia in 1819.</p></div> <div class="footnote"> -<p><a name="Footnote_287_287" id="Footnote_287_287"></a><a href="#FNanchor_287_287"><span class="label">[287]</span></a> 'Usque ad mundandam supellectilem quæ sumpto cibo +<p><a name="Footnote_287_287" id="Footnote_287_287"></a><a href="#FNanchor_287_287"><span class="label">[287]</span></a> 'Usque ad mundandam supellectilem quæ sumpto cibo lavare consuerit.'—Rosmini, <i>Vita di Vittorino</i>, p. 38, note.</p></div> <div class="footnote"> @@ -14220,9 +14180,9 @@ Tranchedino, sent from Siena to Rome, dated July 25, 1470.</p></div> <div class="footnote"> <p><a name="Footnote_309_309" id="Footnote_309_309"></a><a href="#FNanchor_309_309"><span class="label">[309]</span></a> See this passage from a panegyric quoted by Angelo -Mai:—'Tu profecto in hoc nostro deteriori sæculo hebraicæ, græcæ -atque latinæ linguarum, omnium voluminum dignorum memoratu notitiam, -eorumque auctores memoriæ tradidisti.'—<i>Vite di Uomini Illustri</i>, +Mai:—'Tu profecto in hoc nostro deteriori sæculo hebraicæ, græcæ +atque latinæ linguarum, omnium voluminum dignorum memoratu notitiam, +eorumque auctores memoriæ tradidisti.'—<i>Vite di Uomini Illustri</i>, preface, p. xxiii.</p></div> <div class="footnote"> @@ -14232,7 +14192,7 @@ Medici in this place:—</p> <table style="width: 100%; padding-top: 1em; padding-bottom: 1em" border="0" cellpadding="2" cellspacing="0" summary="family tree"> <!-- R1 --><tr> -<!-- C1-2 --><td colspan="2" class="center">Cosimo, Pater Patriæ</td> +<!-- C1-2 --><td colspan="2" class="center">Cosimo, Pater Patriæ</td> <!-- C3 --><td style="width: 20%"> </td> <!-- C4 --><td style="width: 20%"> </td> <!-- C5 --><td style="width: 20%"> </td> @@ -14301,7 +14261,7 @@ born at Figline in 1433.</p></div> <p><a name="Footnote_313_313" id="Footnote_313_313"></a><a href="#FNanchor_313_313"><span class="label">[313]</span></a> Thus Ficino's edition of Plotinus, printed at Lorenzo de' Medici's expense, and published one month after his death, bears -this notice:—'Magnifici sumptu Laurentii patriæ servatoris.'</p></div> +this notice:—'Magnifici sumptu Laurentii patriæ servatoris.'</p></div> <div class="footnote"> @@ -14317,9 +14277,9 @@ Giovanni Acciaiuoli is credited with this generosity.</p></div> <p><a name="Footnote_316_316" id="Footnote_316_316"></a><a href="#FNanchor_316_316"><span class="label">[316]</span></a> Fine expression was given to this conception of life by Aldus in the dedication to Alberto Pio of vols. ii., iii., iv. of Aristotle:—'Es nam tu mihi optimus testis an potiores Herculis -ærumnas credam, sævosque labores, et Venere, et cœnis et plumis +ærumnas credam, sævosque labores, et Venere, et cœnis et plumis Sardanapali. Natus nam homo est ad laborem et ad agendum semper -aliquid viro dignum, non ad voluptatem quæ belluarum est et pecudum.' +aliquid viro dignum, non ad voluptatem quæ belluarum est et pecudum.' The last sentence is a translation of Ulysses' speech in the <i>Inferno</i>—</p> @@ -14355,12 +14315,12 @@ matter may be quoted from the <i>Carmina Quinque Poetarum</i>, p. 412:—</p <table border="0" cellpadding="2" cellspacing="0" summary="poetry"> <tr> <td> -<span lang="grc" title="Greek: kai tout' astrologois epimemphomai êeroleschais">καὶ τοῦτ’ ἀστρολόγοις ἐπιμέμφομαι ἠερολέσχαις</span>,<br /> +<span lang="grc" title="Greek: kai tout' astrologois epimemphomai êeroleschais">καὶ τοῦτ’ ἀστρολόγοις ἐπιμέμφομαι ἠερολέσχαις</span>,<br /> <span class="ind1"><span lang="grc" title="Greek: hotti sophous Pikou moi phthoneous' oarous">ὅττι σοφους Πίκου μοι φθονέους’ ὀάρους</span>.</span><br /> -<span lang="grc" title="Greek: kai gar ho endykeôs toutôn ton lêron elenchôn">καὶ γὰρ ὁ ἐνδυκέως τούτων τὸν λῆρον ἐλέγχων</span><br /> -<span class="ind1"><span lang="grc" title="Greek: mounaxei en agrô dêron hekas poleôs">μουνάξει ἐν ἀγρῷ δηρὸν ἑκὰς πόλεως</span>.</span><br /> +<span lang="grc" title="Greek: kai gar ho endykeôs toutôn ton lêron elenchôn">καὶ γὰρ ὁ ἐνδυκέως τούτων τὸν λῆρον ἐλέγχων</span><br /> +<span class="ind1"><span lang="grc" title="Greek: mounaxei en agrô dêron hekas poleôs">μουνάξει ἐν ἀγρῷ δηρὸν ἑκὰς πόλεως</span>.</span><br /> <span lang="grc" title="Greek: Pike ti soi kai toutois? ou s' epeoiken agyrtais">Πῖκε τί σοι καὶ τούτοις; οὔ σ’ ἐπέοικεν ἀγύρταις</span><br /> -<span class="ind1"><span lang="grc" title="Greek: antarai tên sên eutychea graphida">ἀντᾶραι τὴν σὴν εὐτυχέα γραφίδα</span>.</span> +<span class="ind1"><span lang="grc" title="Greek: antarai tên sên eutychea graphida">ἀντᾶραι τὴν σὴν εὐτυχέα γραφίδα</span>.</span> </td> </tr> </table> @@ -14389,16 +14349,16 @@ specimen of Poliziano's Greek style that I transcribe them here <table border="0" cellpadding="2" cellspacing="0" summary="poetry"> <tr> <td> -<span lang="grc" title="Greek: heurêch' heurêch' hên thelon, hên ezêteon aiei">εὕρηχ’ εὕρηχ’ ἣν θέλον, ἣν ἐζήτεον αἰεὶ</span>,<br /> -<span class="ind1"><span lang="grc" title="Greek: hên êtoun ton erôth', hên kai oneiropoloun">ἣν ᾔτουν τὸν ἔρωθ’, ἣν καὶ ὀνειροπόλουν·</span></span><br /> -<span lang="grc" title="Greek: parthenikên hês kallos akêraton, hês hoge kosmos">παρθενικὴν ἧς κάλλος ἀκήρατον, ἧς ὅγε κόσμος</span><br /> -<span class="ind1"><span lang="grc" title="Greek: ouk eiê technês all' aphelous physeôs">οὐκ εἴη τέχνης ἀλλ’ ἀφελοῦς φύσεως·</span></span><br /> -<span lang="grc" title="Greek: parthenikên glôttêsin ep' amphoterêsi komôsan">παρθενικὴν γλώττῃσιν ἐπ’ ἀμφοτέρῃσι κομῶσαν</span>,<br /> +<span lang="grc" title="Greek: heurêch' heurêch' hên thelon, hên ezêteon aiei">εὕρηχ’ εὕρηχ’ ἣν θέλον, ἣν ἐζήτεον αἰεὶ</span>,<br /> +<span class="ind1"><span lang="grc" title="Greek: hên êtoun ton erôth', hên kai oneiropoloun">ἣν ᾔτουν τὸν ἔρωθ’, ἣν καὶ ὀνειροπόλουν·</span></span><br /> +<span lang="grc" title="Greek: parthenikên hês kallos akêraton, hês hoge kosmos">παρθενικὴν ἧς κάλλος ἀκήρατον, ἧς ὅγε κόσμος</span><br /> +<span class="ind1"><span lang="grc" title="Greek: ouk eiê technês all' aphelous physeôs">οὐκ εἴη τέχνης ἀλλ’ ἀφελοῦς φύσεως·</span></span><br /> +<span lang="grc" title="Greek: parthenikên glôttêsin ep' amphoterêsi komôsan">παρθενικὴν γλώττῃσιν ἐπ’ ἀμφοτέρῃσι κομῶσαν</span>,<br /> <span class="ind1"><span lang="grc" title="Greek: exochon ente chorois exochon ente lyra">ἔξοχον ἔντε χοροῖς ἔξοχον ἔντε λύρᾳ·</span></span><br /> -<span lang="grc" title="Greek: hês peri sôphrosynê t' eiê charitessi th' hamilla">ἧς περὶ σωφροσύνῃ τ’ εἴη χαρίτεσσι θ’ ἁμίλλα</span>,<br /> -<span class="ind1"><span lang="grc" title="Greek: tê kai tê tautên antimethelkomenais">τῇ καὶ τῇ ταύτην ἀντιμεθελκομέναις</span>.</span><br /> -<span lang="grc" title="Greek: heurêk' oud' ophelos, kai gar molis eis eniauton">εὕρηκ’ οὐδ’ ὄφελος, καὶ γὰρ μόλις εἰς ἐνιαυτὸν</span><br /> -<span class="ind1"><span lang="grc" title="Greek: oistrounti phlogerôs estin hapax ideein">οἰστροῦντι φλογερῶς ἐστιν ἅπαξ ἰδέειν</span>.</span><br /> +<span lang="grc" title="Greek: hês peri sôphrosynê t' eiê charitessi th' hamilla">ἧς περὶ σωφροσύνῃ τ’ εἴη χαρίτεσσι θ’ ἁμίλλα</span>,<br /> +<span class="ind1"><span lang="grc" title="Greek: tê kai tê tautên antimethelkomenais">τῇ καὶ τῇ ταύτην ἀντιμεθελκομέναις</span>.</span><br /> +<span lang="grc" title="Greek: heurêk' oud' ophelos, kai gar molis eis eniauton">εὕρηκ’ οὐδ’ ὄφελος, καὶ γὰρ μόλις εἰς ἐνιαυτὸν</span><br /> +<span class="ind1"><span lang="grc" title="Greek: oistrounti phlogerôs estin hapax ideein">οἰστροῦντι φλογερῶς ἐστιν ἅπαξ ἰδέειν</span>.</span><br /> </td> </tr> </table> @@ -14413,10 +14373,10 @@ and Isidoro del Lungo in <i>Arch. Stor.</i> series iii. vol. ii.</p></div> <div class="footnote"> -<p><a name="Footnote_325_325" id="Footnote_325_325"></a><a href="#FNanchor_325_325"><span class="label">[325]</span></a> Julius Cæsar Scaliger wrote thus about them in the -<i>Hypercriticus</i>:—'Græcis vero, quæ puerum se conscripsisse dicit, -ætatem minus prudenter apposuit suam; tam enim bona sunt ut ne virum -quidem Latina æque bene scripsisse putem.'</p></div> +<p><a name="Footnote_325_325" id="Footnote_325_325"></a><a href="#FNanchor_325_325"><span class="label">[325]</span></a> Julius Cæsar Scaliger wrote thus about them in the +<i>Hypercriticus</i>:—'Græcis vero, quæ puerum se conscripsisse dicit, +ætatem minus prudenter apposuit suam; tam enim bona sunt ut ne virum +quidem Latina æque bene scripsisse putem.'</p></div> <div class="footnote"> @@ -14430,9 +14390,9 @@ like many of Giovio's sketches.</p></div> <div class="footnote"> -<p><a name="Footnote_327_327" id="Footnote_327_327"></a><a href="#FNanchor_327_327"><span class="label">[327]</span></a> 'Erat distortis sæpe moribus, uti facie nequaquam -ingenuâ et liberali ab enormi præsertim naso, subluscoque oculo -perabsurdâ.' Giovio, <i>Elogia</i>. Cf. Poliziano's own verses to Mabilius, +<p><a name="Footnote_327_327" id="Footnote_327_327"></a><a href="#FNanchor_327_327"><span class="label">[327]</span></a> 'Erat distortis sæpe moribus, uti facie nequaquam +ingenuâ et liberali ab enormi præsertim naso, subluscoque oculo +perabsurdâ.' Giovio, <i>Elogia</i>. Cf. Poliziano's own verses to Mabilius, beginning:—</p> <table border="0" cellpadding="2" cellspacing="0" summary="poetry"> @@ -14449,18 +14409,18 @@ Demens objicis.<br /> <div class="footnote"> <p><a name="Footnote_328_328" id="Footnote_328_328"></a><a href="#FNanchor_328_328"><span class="label">[328]</span></a> The first words of the dedication run as follows:—'Cum -tibi superioribus diebus Laurenti Medices, nostra hæc Miscellanea +tibi superioribus diebus Laurenti Medices, nostra hæc Miscellanea <i>inter equitandum</i> recitaremus.'</p></div> <div class="footnote"> -<p><a name="Footnote_329_329" id="Footnote_329_329"></a><a href="#FNanchor_329_329"><span class="label">[329]</span></a> <i>Angeli Politiani Epistolæ</i>, lib. iii. ed. Ald. 1498. +<p><a name="Footnote_329_329" id="Footnote_329_329"></a><a href="#FNanchor_329_329"><span class="label">[329]</span></a> <i>Angeli Politiani Epistolæ</i>, lib. iii. ed. Ald. 1498. The letter is dated Nov. 1488.</p></div> <div class="footnote"> <p><a name="Footnote_330_330" id="Footnote_330_330"></a><a href="#FNanchor_330_330"><span class="label">[330]</span></a> In a letter to Hieronymus Donatus, dated Florence, May -1480, <i>Angeli Politiani Epistolæ</i>, lib. ii.</p></div> +1480, <i>Angeli Politiani Epistolæ</i>, lib. ii.</p></div> <div class="footnote"> @@ -14529,8 +14489,8 @@ Commonwealth</i>.</p></div> IV. in 1472 we ascertain some facts about their industry. They had at that date printed in all 12,495 volumes. It was their custom to issue 265 copies each edition; the double of that number for Virgil, -Cicero's separate works, and theological books in request. Cantù, -<i>Lett. It.</i> p. 112. See Cantù, p. 110, for details of the earliest +Cicero's separate works, and theological books in request. Cantù, +<i>Lett. It.</i> p. 112. See Cantù, p. 110, for details of the earliest Latin books.</p></div> <div class="footnote"> @@ -14567,13 +14527,13 @@ printers may be quoted here:</p> <tr> <td> <span lang="lat">Qui colis Aonidas, Grajos quoque volve libellos;<br /> -<span class="ind1">Namque illas genuit Græcia, non Latium.</span><br /> -En Paravisinus quantâ hos Dionysius arte<br /> +<span class="ind1">Namque illas genuit Græcia, non Latium.</span><br /> +En Paravisinus quantâ hos Dionysius arte<br /> <span class="ind1">Imprimit, en quanto cernitis ingenio!</span><br /> Te quoque, Demetri, ponto circumsona Crete<br /> <span class="ind1">Tanti operis nobis edidit artificem.</span><br /> -Turce, quid insultas? tu Græca volumina perdis;<br /> -<span class="ind1">Hi pariunt: hydræ nunc age colla seca!</span></span> +Turce, quid insultas? tu Græca volumina perdis;<br /> +<span class="ind1">Hi pariunt: hydræ nunc age colla seca!</span></span> </td> </tr> </table></div> @@ -14582,18 +14542,18 @@ Turce, quid insultas? tu Græca volumina perdis;<br /> <p><a name="Footnote_348_348" id="Footnote_348_348"></a><a href="#FNanchor_348_348"><span class="label">[348]</span></a> See Didot's <i>Alde Manuce</i>, p. 417, the passage beginning 'Vix credas.' In the Latin preface to the <i>Thesaurus -Cornucopiæ et Horti Adonidis</i>, 1495, Aldo complains that he has not +Cornucopiæ et Horti Adonidis</i>, 1495, Aldo complains that he has not been able to rest for one hour during seven years.</p></div> <div class="footnote"> -<p><a name="Footnote_349_349" id="Footnote_349_349"></a><a href="#FNanchor_349_349"><span class="label">[349]</span></a> 'Tot illico oborta sunt impedimenta malorumque invidiâ -et domesticorum <span lang="grc" title="Greek: kai tais tôn kataratôn kai drapeteuontôn doulôn epiboulais">καὶ ταῖς τῶν καταράτων καὶ δραπετευόντων δούλων ἐπιβούλαις</span>.' -Preface to the <i>Poetæ Christiani Veteres</i>, 1501. -Again in the 'monitum' of the same, 'quater jam in ædibus nostris ab +<p><a name="Footnote_349_349" id="Footnote_349_349"></a><a href="#FNanchor_349_349"><span class="label">[349]</span></a> 'Tot illico oborta sunt impedimenta malorumque invidiâ +et domesticorum <span lang="grc" title="Greek: kai tais tôn kataratôn kai drapeteuontôn doulôn epiboulais">καὶ ταῖς τῶν καταράτων καὶ δραπετευόντων δούλων ἐπιβούλαις</span>.' +Preface to the <i>Poetæ Christiani Veteres</i>, 1501. +Again in the 'monitum' of the same, 'quater jam in ædibus nostris ab operariis et stipendiariis in me conspiratum et duce malorum omnium -matre avaritiâ quos Deo adjuvante sic fregi ut valde omnes pœniteat -suæ perfidiæ.'</p></div> +matre avaritiâ quos Deo adjuvante sic fregi ut valde omnes pœniteat +suæ perfidiæ.'</p></div> <div class="footnote"> @@ -14609,7 +14569,7 @@ vol. v. 1498.</p></div> <div class="footnote"> -<p><a name="Footnote_352_352" id="Footnote_352_352"></a><a href="#FNanchor_352_352"><span class="label">[352]</span></a> See Preface to <i>Thesaurus Cornucopiæ</i>, quoted by Didot, +<p><a name="Footnote_352_352" id="Footnote_352_352"></a><a href="#FNanchor_352_352"><span class="label">[352]</span></a> See Preface to <i>Thesaurus Cornucopiæ</i>, quoted by Didot, p. 80; and cf. pp. 210, 221, 521, for further hints about selfish bibliomaniacs, who tried to hoard their treasures from the public and refused them to the press. Aldo, as a genuine lover of free learning, @@ -14635,7 +14595,7 @@ see Didot, pp. 79, 166, 189, 371, 479-481.</p></div> <div class="footnote"> <p><a name="Footnote_356_356" id="Footnote_356_356"></a><a href="#FNanchor_356_356"><span class="label">[356]</span></a> -<span lang="grc" title="Greek: Mousaion ton palaiotaton poiêtên êthelêsa prooimiazein tô te Aristotelei kai tôn sophôn tois heterois autika di' emou entypêsomenois">Μουσαῖον τὸν παλαιότατον ποιητὴν ἠθέλησα προοιμιάζειν τῷ τε Ἀριστοτέλει καὶ τῶν σοφῶν τοῖς ἑτέροις αὐτίκα δι’ ἐμοῦ ἐντυπησομένοις</span>. +<span lang="grc" title="Greek: Mousaion ton palaiotaton poiêtên êthelêsa prooimiazein tô te Aristotelei kai tôn sophôn tois heterois autika di' emou entypêsomenois">Μουσαῖον τὸν παλαιότατον ποιητὴν ἠθέλησα προοιμιάζειν τῷ τε Ἀριστοτέλει καὶ τῶν σοφῶν τοῖς ἑτέροις αὐτίκα δι’ ἐμοῦ ἐντυπησομένοις</span>. This <span lang="grc" title="Greek: prodromos">πρόδρομος</span>, or precursor, appeared without a date; but it must have come out earlier than 1494.</p></div> @@ -14650,7 +14610,7 @@ the <i>Hercules Furens</i>, turned up while vol. ii. was in the press. The <p><a name="Footnote_358_358" id="Footnote_358_358"></a><a href="#FNanchor_358_358"><span class="label">[358]</span></a> The <i>Adagia</i> were first printed in 1500 at Paris by John Philippi. After the Aldine edition eleven were issued between -1509 and 1520 by Matthew Schürer, ten by Froben between 1513 and 1539, +1509 and 1520 by Matthew Schürer, ten by Froben between 1513 and 1539, while seven or eight others appeared in various parts of Germany.</p></div> <div class="footnote"> @@ -14671,8 +14631,8 @@ Academy.</p></div> <p><a name="Footnote_362_362" id="Footnote_362_362"></a><a href="#FNanchor_362_362"><span class="label">[362]</span></a> A native of Rotino, in Crete (b. 1470, d. at Rome 1517). He acquired Latin so thoroughly that Erasmus wrote of him: -'Latinæ linguæ usque ad miraculum doctus, quod vix ulli Græco contigit -præter Theodorum Gazam et Joannem Lascarem.' John Lascaris was his +'Latinæ linguæ usque ad miraculum doctus, quod vix ulli Græco contigit +præter Theodorum Gazam et Joannem Lascarem.' John Lascaris was his master.</p></div> <div class="footnote"> @@ -14681,7 +14641,7 @@ master.</p></div> consulted for information about this Greek press. Musurus boasts in his encomiastic verses that the work was accomplished entirely by Cretans. -<span lang="grc" title="Greek: analômasi Blastou ponô kai dexiotêti Kalliergou">ἀναλώμασι Βλαστοῶ πόνῳ καὶ δεξιότητι Καλλιέργου</span> in +<span lang="grc" title="Greek: analômasi Blastou ponô kai dexiotêti Kalliergou">ἀναλώμασι Βλαστοῶ πόνῳ καὶ δεξιότητι Καλλιέργου</span> in the colophon.</p></div> <div class="footnote"> @@ -14731,9 +14691,9 @@ who closed his library against his son-in-law Casaubon.</p></div> <div class="footnote"> <p><a name="Footnote_370_370" id="Footnote_370_370"></a><a href="#FNanchor_370_370"><span class="label">[370]</span></a> <i>Priscian</i>, at Erfurt, 1501; <i>Alphabet</i>, -<i>Batrachomyomachia</i>, Musæus, Theocritus, Grammar of Chrysoloras, +<i>Batrachomyomachia</i>, Musæus, Theocritus, Grammar of Chrysoloras, Hesiod's <i>Works and Days</i>, Paris, 1507; Aristotle on <i>Divination by -Dreams</i>, Cracow, 1529; Lucian, <span lang="grc" title="Greek: peri dipsadôn">περὶ διψάδων</span>, Oxford, 1521, +Dreams</i>, Cracow, 1529; Lucian, <span lang="grc" title="Greek: peri dipsadôn">περὶ διψάδων</span>, Oxford, 1521, are among the earliest Greek books printed out of Italy. The grammars of the Greek humanists were frequently reprinted in the first quarter of the sixteenth century in Germany.</p></div> @@ -14745,7 +14705,7 @@ of the sixteenth century in Germany.</p></div> <table border="0" cellpadding="2" cellspacing="0" summary="poetry"> <tr> <td> -<span lang="lat">Namque sub Œbaliæ memini me turribus altis<br /> +<span lang="lat">Namque sub Œbaliæ memini me turribus altis<br /> Qua niger humectat flaventia culta Galesus<br /> <i>Corycium</i> vidisse <i>senem</i>.—Virg. <i>Georg.</i> lib. iv. 125.</span> </td> @@ -14782,8 +14742,8 @@ printer see Didot, <i>Alde Manuce</i>, pp. 544-578.</p></div> <div class="footnote"> <p><a name="Footnote_377_377" id="Footnote_377_377"></a><a href="#FNanchor_377_377"><span class="label">[377]</span></a> The epitaph of Bella Imperia proves that the title of -Hetæra was thought honourable: 'Imperia, Cortisana Romana, quæ digna -tanto nomine, raræ inter homines formæ specimen dedit. Vixit a. xxvi. +Hetæra was thought honourable: 'Imperia, Cortisana Romana, quæ digna +tanto nomine, raræ inter homines formæ specimen dedit. Vixit a. xxvi. d. xii. Obiit <span class="sm">MDXI.</span>, die <span class="sm">XV.</span> Aug.' Berni's <i>Capitolo sopra un Garzone</i> may be referred to for the second half of the sentence.</p></div> @@ -14811,16 +14771,16 @@ Urbini Ducibus.'</p></div> <table border="0" cellpadding="2" cellspacing="0" summary="poetry"> <tr> <td> -<span lang="lat">Nam pol quâ proavusque avusque linguâ<br /> +<span lang="lat">Nam pol quâ proavusque avusque linguâ<br /> Sunt olim meus et tuus loquuti,<br /> -Nostræ quâque loquuntur et sorores<br /> +Nostræ quâque loquuntur et sorores<br /> Et matertera nunc et ipsa mater,<br /> Nos nescire loqui magis pudendum est,<br /> -Qui Graiæ damus et damus Latinæ<br /> +Qui Graiæ damus et damus Latinæ<br /> Studi tempora duplicemque curam,<br /> -Quam Graiâ simul et simul Latinâ.<br /> +Quam Graiâ simul et simul Latinâ.<br /> Hac uti ut valeas tibi videndum est,<br /> -Ne dum marmoreas remotâ in orâ<br /> +Ne dum marmoreas remotâ in orâ<br /> Sumtu construis et labore villas,<br /> Domi te calamo tegas palustri.<br /> <span style="margin-left: 2em"><i>Carmina Quinque Illustrium Poetarum</i>, p. 25.</span></span> @@ -14831,7 +14791,7 @@ Domi te calamo tegas palustri.<br /> <div class="footnote"> <p><a name="Footnote_383_383" id="Footnote_383_383"></a><a href="#FNanchor_383_383"><span class="label">[383]</span></a> His most famous essays bore these titles: <i>De Liberis -Instituendis</i> and <i>De Laudibus Philosophiæ</i>.</p></div> +Instituendis</i> and <i>De Laudibus Philosophiæ</i>.</p></div> <div class="footnote"> @@ -14848,7 +14808,7 @@ Printed at Florence, 1550.</p></div> <div class="footnote"> <p><a name="Footnote_386_386" id="Footnote_386_386"></a><a href="#FNanchor_386_386"><span class="label">[386]</span></a> <i>Elogia Virorum literis illustrium, quotquot vel -nostrâ, vel avorum memoriâ vixere</i>, and <i>Elogia Virorum bellicâ +nostrâ, vel avorum memoriâ vixere</i>, and <i>Elogia Virorum bellicâ virtute illustrium</i>, Basel, 1557.</p></div> <div class="footnote"> @@ -14859,15 +14819,15 @@ i Motti e Disegni d'Arme e d'Amore.</i></p></div> <div class="footnote"> <p><a name="Footnote_388_388" id="Footnote_388_388"></a><a href="#FNanchor_388_388"><span class="label">[388]</span></a> The titles of his philosophical works—<i>De Studio -divinæ et humanæ philosophiæ</i>, <i>De amore Divino</i>, <i>Examen vanitatis -doctrinæ gentium et veritatis Christianæ disciplinæ</i>, <i>De rerum -prænotione</i>—show how closely he followed in the footsteps of Giovanni +divinæ et humanæ philosophiæ</i>, <i>De amore Divino</i>, <i>Examen vanitatis +doctrinæ gentium et veritatis Christianæ disciplinæ</i>, <i>De rerum +prænotione</i>—show how closely he followed in the footsteps of Giovanni Pico.</p></div> <div class="footnote"> -<p><a name="Footnote_389_389" id="Footnote_389_389"></a><a href="#FNanchor_389_389"><span class="label">[389]</span></a> <i>Joannis Francisci Pici Mirandolæ et Concordiæ Comitis -Oratio ad Leon X. et Concilium Lateranense de reformandis Ecclesiæ +<p><a name="Footnote_389_389" id="Footnote_389_389"></a><a href="#FNanchor_389_389"><span class="label">[389]</span></a> <i>Joannis Francisci Pici Mirandolæ et Concordiæ Comitis +Oratio ad Leon X. et Concilium Lateranense de reformandis Ecclesiæ moribus.</i></p></div> <div class="footnote"> @@ -14878,8 +14838,8 @@ a few months. Aleander succeeded him in 1519.</p></div> <div class="footnote"> -<p><a name="Footnote_391_391" id="Footnote_391_391"></a><a href="#FNanchor_391_391"><span class="label">[391]</span></a> '<i>Linguâ verius quam calamo celebrem ... dictus sui -seculi Cicero</i>,' says Erasmus. '<i>Affluentissimum eloquentiæ flumen</i>' +<p><a name="Footnote_391_391" id="Footnote_391_391"></a><a href="#FNanchor_391_391"><span class="label">[391]</span></a> '<i>Linguâ verius quam calamo celebrem ... dictus sui +seculi Cicero</i>,' says Erasmus. '<i>Affluentissimum eloquentiæ flumen</i>' is Valeriano's phrase.</p></div> <div class="footnote"> @@ -14898,10 +14858,10 @@ i. p. 357.</p></div> <div class="footnote"> <p><a name="Footnote_395_395" id="Footnote_395_395"></a><a href="#FNanchor_395_395"><span class="label">[395]</span></a> <i>Andreas Fulvius Sabinus Antiquarius, Antiquitates -Urbis Romæ</i>, 1527. <i>Bartholomæus Marlianus, Eques D. Petri, Urbis Romæ -Topographia</i>, 1534. <i>Jacobus Mazochius, Epigrammata antiquæ urbis -Romæ</i>, 1521. <i>Johannis Pierii Valeriani Hieroglyphica seu de Sacris -Ægyptiorum</i>, &c., in his collected works, Ven. 1604.</p></div> +Urbis Romæ</i>, 1527. <i>Bartholomæus Marlianus, Eques D. Petri, Urbis Romæ +Topographia</i>, 1534. <i>Jacobus Mazochius, Epigrammata antiquæ urbis +Romæ</i>, 1521. <i>Johannis Pierii Valeriani Hieroglyphica seu de Sacris +Ægyptiorum</i>, &c., in his collected works, Ven. 1604.</p></div> <div class="footnote"> @@ -14923,7 +14883,7 @@ for him at Rome.</p></div> <p><a name="Footnote_399_399" id="Footnote_399_399"></a><a href="#FNanchor_399_399"><span class="label">[399]</span></a> <i>Terzo Commentario del Ghiberti, Frammenti Inediti</i>, in Le Monnier's Vasari, vol. i. pp. xi.-xiii. I have paraphrased rather than translated the original, which is touching by reason of its -naïveté.</p></div> +naïveté.</p></div> <div class="footnote"> @@ -14974,10 +14934,10 @@ buildings, has been cemented with lime made from antique marbles.'</p></div> <table style="padding-bottom: 1em" border="0" cellpadding="2" cellspacing="0" summary="poetry"> <tr> <td> -<span lang="lat">Tot proceres Romam, tam longa struxerat ætas,<br /> -<span class="ind1">Totque hostes et tot sæcula diruerant;</span><br /> -Nunc Romam in Româ quærit reperitque Raphael;<br /> -<span class="ind1">Quærere magni hominis, sed reperire Dei est.</span><br /> +<span lang="lat">Tot proceres Romam, tam longa struxerat ætas,<br /> +<span class="ind1">Totque hostes et tot sæcula diruerant;</span><br /> +Nunc Romam in Româ quærit reperitque Raphael;<br /> +<span class="ind1">Quærere magni hominis, sed reperire Dei est.</span><br /> <span style="margin-left: 13.5em">Celio Calcagnini.</span></span> </td> </tr> @@ -14986,10 +14946,10 @@ Nunc Romam in Româ quærit reperitque Raphael;<br /> <table border="0" cellpadding="2" cellspacing="0" summary="poetry"> <tr> <td> -<span lang="lat">Quod lacerum corpus medicâ sanaverit arte,<br /> +<span lang="lat">Quod lacerum corpus medicâ sanaverit arte,<br /> <span class="ind1">Hippolytum Stygiis et revocarit aquis,</span><br /> Ad Stygias ipse est raptus Epidaurius undas;<br /> -<span class="ind1">Sic pretium vitæ mors fuit artifici.</span><br /> +<span class="ind1">Sic pretium vitæ mors fuit artifici.</span><br /> Tu quoque dum toto laniatam corpore Romam<br /> <span class="ind1">Componis miro, Raphael, ingenio,</span><br /> Atque urbis lacerum ferro, igne, armisque cadaver<br /> @@ -14997,8 +14957,8 @@ Atque urbis lacerum ferro, igne, armisque cadaver<br /> Movisti Superum invidiam; indignataque mors est<br /> <span class="ind1">Te dudum extinctis reddere posse animam,</span><br /> Et quod longa dies paullatim aboleverat, hoc te<br /> -<span class="ind1">Mortali spretâ lege parare iterum.</span><br /> -Sic miser heu primâ cadis intercepte juventâ:<br /> +<span class="ind1">Mortali spretâ lege parare iterum.</span><br /> +Sic miser heu primâ cadis intercepte juventâ:<br /> <span class="ind1">Debere et morti nostraque nosque mones.</span></span><br /> <span lang="ita"><span style="margin-left: 11.5em">Baldassare Castiglione.</span></span></td> </tr> @@ -15018,7 +14978,7 @@ Sic miser heu primâ cadis intercepte juventâ:<br /> <div class="footnote"> -<p><a name="Footnote_411_411" id="Footnote_411_411"></a><a href="#FNanchor_411_411"><span class="label">[411]</span></a> 'Quod Romæ, hoc est in sentinâ omnium rerum atrocium et +<p><a name="Footnote_411_411" id="Footnote_411_411"></a><a href="#FNanchor_411_411"><span class="label">[411]</span></a> 'Quod Romæ, hoc est in sentinâ omnium rerum atrocium et pudendarum deprehensi fuerimus.' Quoted by Gregorovius, <i>Stadt Rom</i>, vol. viii. p. 598, note 3.</p></div> @@ -15030,7 +14990,7 @@ far and wide throughout the whole world.'</p></div> <div class="footnote"> -<p><a name="Footnote_413_413" id="Footnote_413_413"></a><a href="#FNanchor_413_413"><span class="label">[413]</span></a> I purpose in this chapter to use the <i>Delitiæ Poetarum +<p><a name="Footnote_413_413" id="Footnote_413_413"></a><a href="#FNanchor_413_413"><span class="label">[413]</span></a> I purpose in this chapter to use the <i>Delitiæ Poetarum Italorum</i>, two parts divided into 4 vols., 1608; <i>Carmina Quinque Illustrium Poetarum</i>, Bergomi, 1753; <i>Poemata Selecta Italorum</i>, Oxonii, 1808; and <i>Selecta Poemata Italorum</i>, accurante A. Pope, @@ -15047,7 +15007,7 @@ cxxi.-cxxiii.</p></div> <div class="footnote"> <p><a name="Footnote_415_415" id="Footnote_415_415"></a><a href="#FNanchor_415_415"><span class="label">[415]</span></a> See above, <a href="#Page_254">p. 254</a>, for the purpose fulfilled by the -<i>Sylvæ</i>.</p></div> +<i>Sylvæ</i>.</p></div> <div class="footnote"> @@ -15057,7 +15017,7 @@ cxxi.-cxxiii.</p></div> <p><a name="Footnote_417_417" id="Footnote_417_417"></a><a href="#FNanchor_417_417"><span class="label">[417]</span></a> 'As from the heavens we see the stars on all sides fleeing, when the golden torch of the sun-god rises, and the -diminished moon appears to fade; so with his burning lamp Mæonides +diminished moon appears to fade; so with his burning lamp Mæonides obscures the honours of the earlier bards. Him alone, while he sang the divine deeds of heroes, and with his lyre arrayed fierce wars, Apollo, wonder-struck, confessed his equal. Close at his side, or @@ -15069,12 +15029,12 @@ willing homage.'—<i>Quinque Illustrium Poetarum Carmina</i>, p. 167.</p></ <div class="footnote"> <p><a name="Footnote_418_418" id="Footnote_418_418"></a><a href="#FNanchor_418_418"><span class="label">[418]</span></a> 'Far off into the tracts of air and high above the -clouds soars Pindar, the Dircæan swan, whose tender mouth ye gentle +clouds soars Pindar, the Dircæan swan, whose tender mouth ye gentle bees with nectar fed, while the boy gave rest to weary limbs that breathed soft slumber. But him the maid of Tanagra derided, what time she told him that he sowed his myths from the whole sack to waste; and when he dared contend with her in song, she bore away the victor's -palm, triumphant by Æolian moods, and by her seductive beauty too. He +palm, triumphant by Æolian moods, and by her seductive beauty too. He with his mighty voice, trained in the school of Agathocles, sang the crowns of Olympia and the garlands wherewith the Isthmus and Delphi, and the Nemean wastes that falsely claimed the moon-born monster, @@ -15095,7 +15055,7 @@ that lives for aye.'—<i>Carmina</i>, &c. p. 173.</p></div> <div class="footnote"> -<p><a name="Footnote_419_419" id="Footnote_419_419"></a><a href="#FNanchor_419_419"><span class="label">[419]</span></a> 'Ninth among lyric bards, Æolian Sappho joins the crew; +<p><a name="Footnote_419_419" id="Footnote_419_419"></a><a href="#FNanchor_419_419"><span class="label">[419]</span></a> 'Ninth among lyric bards, Æolian Sappho joins the crew; she who by flowing water plucks Pieria's rose for venturous Love to twine in wreaths for his own brow; who with her dulcet lyre sings fair Cyrinna's charms, and Megara, and Atthis and sweet Anactoria, and @@ -15107,7 +15067,7 @@ Ambracian waves.' <i>Ib.</i> &c. p. 175.</p></div> <div class="footnote"> -<p><a name="Footnote_420_420" id="Footnote_420_420"></a><a href="#FNanchor_420_420"><span class="label">[420]</span></a> 'Æschylus, smitten by a tortoise falling from the air +<p><a name="Footnote_420_420" id="Footnote_420_420"></a><a href="#FNanchor_420_420"><span class="label">[420]</span></a> 'Æschylus, smitten by a tortoise falling from the air above his head, and he whose triumph, justly won in old age, killed him with excess of joy, and he whose body, torn by raging hounds, the reverent earth of Pella hides.'—<i>Carmina</i>, &c. p. 176.</p></div> @@ -15145,7 +15105,7 @@ p. 388. Edition of Basle, 1580.</p></div> <p><a name="Footnote_425_425" id="Footnote_425_425"></a><a href="#FNanchor_425_425"><span class="label">[425]</span></a> 'On themes like these I spent my hours of leisure in the grottoes of Fiesole, at the Medicean villa, where the holy hill -looks down upon the Mæonian city, and surveys the windings of the +looks down upon the Mæonian city, and surveys the windings of the distant Arno. There good Lorenzo gives his friends a happy home and rest from cares; Lorenzo, not the last of Phœbus' glorious band; Lorenzo, the firm anchor of the Muses tempest-tost. If only he but @@ -15183,7 +15143,7 @@ mother's song; when he ceased from singing and put down the thrilling lyre. This bold Achilles seizes; he runs his fingers o'er the strings, and chaunts an untaught lay, the simple boy. What was his theme? you ask. He praised the singing of the gentle guest, the mighty murmurs of -that lyre divine. The Minyæ laughed; but yet, so runs the tale, even +that lyre divine. The Minyæ laughed; but yet, so runs the tale, even all too sweet, Orpheus, to thee was the boy's homage. Just so my praise of mighty Maro's name, if faith be not a dream, gives joy to Maro's self.'—<i>Carmina</i>, &c. p. 197.</p></div> @@ -15225,7 +15185,7 @@ p. 72.</p></div> <div class="footnote"> -<p><a name="Footnote_434_434" id="Footnote_434_434"></a><a href="#FNanchor_434_434"><span class="label">[434]</span></a> <i>Delitiæ Poetarum Italorum</i>, pt. ii. pp. 668-712. +<p><a name="Footnote_434_434" id="Footnote_434_434"></a><a href="#FNanchor_434_434"><span class="label">[434]</span></a> <i>Delitiæ Poetarum Italorum</i>, pt. ii. pp. 668-712. Specimens may also be read in the <i>Poemata Selecta Italorum</i>, pp. 1-24.</p></div> @@ -15257,21 +15217,21 @@ shall live.'</p></div> <p><a name="Footnote_438_438" id="Footnote_438_438"></a><a href="#FNanchor_438_438"><span class="label">[438]</span></a> 'Lilius Gyraldus,' loc. cit. p. 384, writes about this epic, 'in quibus, ut sic dicam, statarius poeta videri potest. Non enim verborum volubilitate fertur, sed limatius quoddam scribendi -genus consectatur, et limâ indies atterit, ut de illo non ineleganter +genus consectatur, et limâ indies atterit, ut de illo non ineleganter dictum illud Apellis de Protogene Pontanus usurpare solitus esset, eum -manum de tabulâ tollere nescire.'</p></div> +manum de tabulâ tollere nescire.'</p></div> <div class="footnote"> -<p><a name="Footnote_439_439" id="Footnote_439_439"></a><a href="#FNanchor_439_439"><span class="label">[439]</span></a> See <i>Delitiæ Poetarum Italorum</i>, second part, pp. +<p><a name="Footnote_439_439" id="Footnote_439_439"></a><a href="#FNanchor_439_439"><span class="label">[439]</span></a> See <i>Delitiæ Poetarum Italorum</i>, second part, pp. 713-761. The following couplet on the death of Cesare Borgia is celebrated:—</p> <table border="0" cellpadding="2" cellspacing="0" summary="poetry"> <tr> <td> -<span lang="lat">Aut nihil aut Cæsar vult dici Borgia; quidni?<br /> -Cum simul et Cæsar possit et esse nihil.</span> +<span lang="lat">Aut nihil aut Cæsar vult dici Borgia; quidni?<br /> +Cum simul et Cæsar possit et esse nihil.</span> </td> </tr> </table></div> @@ -15292,7 +15252,7 @@ one was built by men, the other by gods."'</p></div> <p><a name="Footnote_442_442" id="Footnote_442_442"></a><a href="#FNanchor_442_442"><span class="label">[442]</span></a> <i>Bombycum; Libri duo. Scacchia, Ludus; Liber unus.</i> Pope's <i>Poemata Italorum</i>, vol. i. pp. 103-130; pp. 190-210. The -former poem is addressed to Isabella Gonzaga, née d'Este.</p></div> +former poem is addressed to Isabella Gonzaga, née d'Este.</p></div> <div class="footnote"> @@ -15343,10 +15303,10 @@ Instant multa prius, quorum vatum indiget usus.<br /> Nulla mora, ex illo in pejus ruere omnia visa,<br /> Degenerare animi, atque retro res lapsa referri.<br /> Hic namque ingenio confisus posthabet artem;<br /> -Ille furit strepitu, tenditque æquare tubarum<br /> +Ille furit strepitu, tenditque æquare tubarum<br /> Voce sonos, versusque tonat sine more per omnes;<br /> Dant alii cantus vacuos, et inania verba<br /> -Incassum, solâ capti dulcedine vocis.</span> +Incassum, solâ capti dulcedine vocis.</span> </td> </tr> </table> @@ -15368,7 +15328,7 @@ Atque unum sequere, utque potes, vestigia serva.</span> <p><a name="Footnote_447_447" id="Footnote_447_447"></a><a href="#FNanchor_447_447"><span class="label">[447]</span></a></p> <p class="center"> -<span lang="lat">Dona deûm Musæ: vulgus procul este profanum.</span> +<span lang="lat">Dona deûm Musæ: vulgus procul este profanum.</span> </p> <p><i>Poemata Selecta</i>, p. 224; and again, <i>ib.</i> p. 226:—</p> @@ -15377,7 +15337,7 @@ Atque unum sequere, utque potes, vestigia serva.</span> <tr> <td> <span lang="lat">Tu Jovis ambrosiis das nos accumbere mensis;<br /> -Tu nos diis æquas superis, &c.</span> +Tu nos diis æquas superis, &c.</span> </td> </tr> </table></div> @@ -15416,7 +15376,7 @@ and plant thyself within our souls.'—<i>Poemata Selecta</i>, p. 266.</p></ <td> <span lang="lat"><span style="margin-left: 4.5em;">quoniam in primis ostendere multos</span><br /> Possumus, attactu qui nullius hanc tamen ipsam<br /> -Sponte suâ sensere luem, primique tulere.<br /> +Sponte suâ sensere luem, primique tulere.<br /> <span style="margin-left: 11em;"><i>Poemata Selecta</i>, p. 67.</span></span> </td> </tr> @@ -15429,11 +15389,11 @@ Sponte suâ sensere luem, primique tulere.<br /> <table border="0" cellpadding="2" cellspacing="0" summary="poetry"> <tr> <td> -<span lang="lat">Quumque animadvertas, tam vastæ semina labis<br /> -Esse nec in terræ gremio, nec in æquore posse,<br /> +<span lang="lat">Quumque animadvertas, tam vastæ semina labis<br /> +Esse nec in terræ gremio, nec in æquore posse,<br /> Haud dubie tecum statuas reputesque necesse est,<br /> Principium sedemque mali consistere in ipso<br /> -Aëre, qui terras circum diffunditur omnes.<br /> +Aëre, qui terras circum diffunditur omnes.<br /> <span style="margin-left: 15em;"><i>Ibid.</i> p. 69.</span></span></td> </tr> </table></div> @@ -15465,7 +15425,7 @@ Aera, et flammiferum tormenta imitantia fulmen.<br /> <p><a name="Footnote_456_456" id="Footnote_456_456"></a><a href="#FNanchor_456_456"><span class="label">[456]</span></a> Cf. the passage about Alessandro Farnese's journeys—</p> <p class="center"> -<span lang="lat">Matre deâ comitante et iter monstrante nepoti—</span> +<span lang="lat">Matre deâ comitante et iter monstrante nepoti—</span> </p> <p>and the reformation in Germany. <i>Poemata Selecta</i>, p. 125. The whole @@ -15531,15 +15491,15 @@ harsh fate, Politian, master of the Italian lyre!'</p></div> <div class="footnote"> <p><a name="Footnote_465_465" id="Footnote_465_465"></a><a href="#FNanchor_465_465"><span class="label">[465]</span></a> Notice especially 'Thyrsidis vota Veneri,' 'Invitatio -ad amœnum fontem,' 'Leucippem amicam spe præmiorum invitat,' 'Vota +ad amœnum fontem,' 'Leucippem amicam spe præmiorum invitat,' 'Vota Veneri ut amantibus faveat,' and 'In Almonem.'—<i>Carmina</i>, &c. pp. 52, 53, 54, 55.</p></div> <div class="footnote"> <p><a name="Footnote_466_466" id="Footnote_466_466"></a><a href="#FNanchor_466_466"><span class="label">[466]</span></a> Paolo Giovio noticed this; in his <i>Elogia</i> he writes, -'<i>Epigrammata non falsis aculeatisque finibus, sed tenerâ illâ et -prædulci priscâ suavitate claudebat.</i>'</p></div> +'<i>Epigrammata non falsis aculeatisque finibus, sed tenerâ illâ et +prædulci priscâ suavitate claudebat.</i>'</p></div> <div class="footnote"> @@ -15567,7 +15527,7 @@ cares!'—<i>Carmina</i>, &c. p. 84.</p></div> <div class="footnote"> -<p><a name="Footnote_470_470" id="Footnote_470_470"></a><a href="#FNanchor_470_470"><span class="label">[470]</span></a> See the Hendecasyllabics of Johannes Matthæus, +<p><a name="Footnote_470_470" id="Footnote_470_470"></a><a href="#FNanchor_470_470"><span class="label">[470]</span></a> See the Hendecasyllabics of Johannes Matthæus, <i>Carmina</i>, &c. p. 86.</p></div> <div class="footnote"> @@ -15734,7 +15694,7 @@ with the preachers of pure doctrine:—</p> <td> <span lang="lat">Dum fera flamma tuos, Hieronyme, pascitur artus,<br /> <span class="ind1">Relligio, sacras dilaniata comas,</span><br /> -Flevit, et o, dixit, crudeles parcite flammæ,<br /> +Flevit, et o, dixit, crudeles parcite flammæ,<br /> <span class="ind1">Parcite, sunt isto viscera nostra rogo.</span></span> </td> </tr> @@ -15849,7 +15809,7 @@ that immortality of fame awaits him in their praises.</p></div> <div class="footnote"> -<p><a name="Footnote_506_506" id="Footnote_506_506"></a><a href="#FNanchor_506_506"><span class="label">[506]</span></a> 'Tam brevi regione Transpadanâ.'</p></div> +<p><a name="Footnote_506_506" id="Footnote_506_506"></a><a href="#FNanchor_506_506"><span class="label">[506]</span></a> 'Tam brevi regione Transpadanâ.'</p></div> <div class="footnote"> @@ -15858,7 +15818,7 @@ Descriptio</i>, Fracastoro's <i>Ad Franciscum Turrianum Veronensem</i>, &c.< <div class="footnote"> -<p><a name="Footnote_508_508" id="Footnote_508_508"></a><a href="#FNanchor_508_508"><span class="label">[508]</span></a> 'Græculi esurientes.' Lives written by Philostratus.</p></div> +<p><a name="Footnote_508_508" id="Footnote_508_508"></a><a href="#FNanchor_508_508"><span class="label">[508]</span></a> 'Græculi esurientes.' Lives written by Philostratus.</p></div> <div class="footnote"> @@ -15874,7 +15834,7 @@ Descriptio</i>, Fracastoro's <i>Ad Franciscum Turrianum Veronensem</i>, &c.< <p><a name="Footnote_511_511" id="Footnote_511_511"></a><a href="#FNanchor_511_511"><span class="label">[511]</span></a> 'Pudet me, Pice, pigetque id de literatis afferre quod omnium tamen est in ore, nullos esse cum omnium vitiorum etiam -nefandissimorum genere inquinatos magis, tum iis præcipue, quæ præter +nefandissimorum genere inquinatos magis, tum iis præcipue, quæ præter naturam dicuntur,' &c.—<i>Progymnasma adversus Literatos</i>, p. 431.</p></div> <div class="footnote"> @@ -15899,7 +15859,7 @@ Parisiis, 1791, p. 107.</p></div> <p><a name="Footnote_516_516" id="Footnote_516_516"></a><a href="#FNanchor_516_516"><span class="label">[516]</span></a> 'Perfect nose, imperial nose, divine nose, nose to be blessed among all noses; and blessed be the breasts that made you with a nose so lordly, and blessed be all those things you put your nose -to!' The above is quoted from Cantù's <i>Storia della Letteratura +to!' The above is quoted from Cantù's <i>Storia della Letteratura Italiana</i>. I have not seen the actual address.</p></div> <div class="footnote"> @@ -15915,7 +15875,7 @@ Italiana</i>. I have not seen the actual address.</p></div> <p><a name="Footnote_519_519" id="Footnote_519_519"></a><a href="#FNanchor_519_519"><span class="label">[519]</span></a> <i>Epist. Rer. Senil.</i> xv. 1. 'Styli hujus per Italiam non auctor quidem, sed instaurator ipse mihi videor, quo cum uti -inciperem, adolescens a coætaneis irridebar, qui in hoc ipso certatim +inciperem, adolescens a coætaneis irridebar, qui in hoc ipso certatim me postea sunt secuti.'</p></div> <div class="footnote"> @@ -15933,7 +15893,7 @@ published an <i>Epistolarium</i> of this kind.</p></div> pp. 304, 282, 448, writes, 'Le cose che non voglio sieno copiate, le scrivo sempre alla grossolana.' 'Hoc autem scribendi more utimur iis in rebus quarum memoriam nolumus transferre ad posteros. Et ethrusca -quidem lingua vix toti Italiæ nota est, at latina oratio longe ac late +quidem lingua vix toti Italiæ nota est, at latina oratio longe ac late per universum orbem est diffusa.' ('Matters I do not wish to have copied I always write off in the vulgar. This style I use for such things as I do not care to transmit to posterity. Tuscan, to be sure, @@ -15969,382 +15929,6 @@ iii. cap. v. 71.</p></div> <p><a href="#Footnote_22_22">Footnote 22</a>: "found" should be followed by "in."</p> </div> - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Renaissance in Italy, Volume 2 (of 7), by -John Addington Symonds - -*** END OF THIS PROJECT GUTENBERG EBOOK RENAISSANCE IN ITALY, VOLUME 2 *** - -***** This file should be named 41924-h.htm or 41924-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/1/9/2/41924/ - -Produced by Ted Garvin, Linda Cantoni, and the Online -Distributed Proofreading Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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