The personage who ranks next to him in celebrity is his cousin Rinaldo of Montalbano. Montalbano, or Montauban, is a city on the banks of the Tarn, near its junction with the Garonne. It is said to have been built in 1144, after the date of archbishop Turpin's book, who makes no mention of it or its lord. It is a stronghold; and, even now, an old fortress, in the most ancient part of it, is called le Chateau de Renaud. Aymon, duke of Dordona, had four sons; the eldest was Rinaldo, who, having, in a transport of rage, killed Charlemagne's nephew Berthelot with a blow of a chess-board, was, with all his family, except his father, banished and outlawed. They betook themselves to the forests and the lives of banditti; and, proceeding to Gasgony, Yon, king of Bordeaux, gave his sister Clarice in marriage to Rinaldo, and permitted him to build the castle of Montauban. After several disasters, he went to the Holy Land, and, on his return, made peace with the emperor. The machinery of these poems is chiefly conducted, in the first place, by the treachery of Gano of Mayence, who is perpetually trusted by Charlemagne, and perpetually betrays him, turning his malice principally against the celebrated warriors of his court, while they are protected by Rinaldo's cousin Malagigi, or Maugis, son of Beuves, or Buovo, of Aygremont. Malagigi was brought up by the fairy Orianda, and became a great enchanter. To vary the serious characters of the drama, Astolfo, the English cousin of Orlando, being equally descended with him from Charles Martel, is introduced. Astolfo is a boaster: he is perpetually undertaking great feats, which he is unable to perform; but he is generous, and brave to foolhardiness, courteous, gay, and singularly handsome. The family of the heroes of romance has been the more dilated upon, as it serves as an introduction to all the poems. But to return to Pulci, who is immediately before us. His poem wants the elevation, the elegance, and idealism of Boiardo and Ariosto; but it is not on that account merely burlesque: it has been supposed to be impious, on account of each chapter being addressed to the Divinity, or, more frequently, to the Virgin. But in those days men were on a much more familiar footing than now with the objects of their worship; and, even at present, in purely catholic countries,--in Italy, for example,--the most sacred names are alluded to in a way which sounds like blasphemy to our ears, but which makes an integral part of their religion. There is but one passage in the "Morgante," hereafter to be noticed, which really savours of unbelief. Thus, as seriously, or, at least, with as little feeling of blasphemy, as an alderman says grace before a turtle feast. Pulci begins his poem[86]:--