In all these instances, and equally so in the cycle of Arthur, a germ of historical reality lies latent in the human consciousness for centuries, and then suddenly becomes prolific of a wealth of imaginative detail. There can be no reasonable doubt that the writers of the Homeric epics, whether few or many, stood in the same relation to their sources as Malory and Boiardo to theirs, inheritors of a tradition in which they reposed genuine belief, but which at the same time they thought themselves at liberty to embellish and diversify as they deemed best. We should probably find the resemblance between the development of Trojan and of Arthurian legend to be very close, had we the same acquaintance with the intellectual history of ancient Greece as we possess with that of the mediæval period. Both were the result of a great poetical revival, when the awakening spirit grasped eagerly at the nutriment nearest to hand; and the Celtic romancers of the twelfth century were inspired by true Celtic yearnings for an irrevocable past, finding much of their material in the national historian, Geoffrey of Monmouth. With the Italian romantic epic the case was somewhat different: it was largely influenced by a single book, and one composed with a direct polemical purpose. The fear and hatred entertained in the tenth and eleventh centuries for the Saracen invaders and the Danes, and other heathens frequently confounded with them, found expression at last in a remarkable book, the Latin Chronicles attributed to Turpin, Archbishop of Rheims in the eighth century, but really a fabrication of the eleventh, in which Charlemagne and his paladins were idealised as the vanquishers of the pagans. From the prominent position given to Charlemagne’s imaginary Spanish expeditions, the author is thought to have been a Spaniard, and he owed much to that “Iliad of the Middle Ages,” the _Song of Roland_, also a production of the eleventh century. The panic passed away, but left behind it a rich deposit of romantic fiction, deriving a beauty unknown to former ages from the high estimate of woman which Christianity and Teutonic feeling had jointly contributed to the collective human consciousness. Utilised in many French narrative poems, this chivalric element first appeared in Italian in the elaborate prose-romance, _I Reali di Francia_. From this the step to metrical epic was easy, but the awkwardness of the Italian poets’ first attempts seems to indicate that it was not taken until the poetic art had reached its period of deepest depression in the early part of the fifteenth century, when the rude and tedious epics _Buovo di Antona_ (Bevis of Hampton), _La Spagna_, _Febus_, and _Queen Ancronja_ were probably composed.