other, in the sense that he held, for the first time, a polished mirror before contemporary life and manners, Lyly must be called the first of English novelists. _The Anatomy of Wit_, which it is most important to distinguish from its sequel, was the descendant in the direct line from the "moral Court treatise." Something perhaps of the atmosphere of the _novella_ clung about its pages, but that was only to be expected: Lyly added incident to the bare scheme of discourses, and for that he had no other models but the Italians. But Guevara was his real source. Dr Landmann's verdict, that "Euphuism is not only adapted from Guevara's _alto estilo_, but _Euphues_ itself, as to its contents, is a mere imitation of Guevara's enlarged biography of Marcus Aurelius," has certainly been shown by Mr Bond to be a gross overstatement; yet there can be no doubt that the _Diall of Princes_ was Lyly's model on the side of matter, as was Pettie's _Pallace_ on the side of style. Our author's debt to the Spaniard is seen in a correspondence between many parts of his book and the _Aureo Libro_, in certain of the concluding letters and discourses, and in many other ways which Mr Bond has patiently noted[87]. Guevara, however, was but one among many previous writers to whom Lyly owed obligations. _Euphues_ was justly styled by its author "compiled," being in fact a mosaic, pieced together from the classics, and especially Plutarch, Pliny, and Ovid, and from previous English writers such as Harrison, Heywood, Fortescue, and Gascoigne; names that indicate the course of literary "browsing" that Lyly substituted for the ordinary curriculum at Oxford. To mention all the authors from whom he borrowed, and to point out the portions of his novel which are due to their several influences, would only be to repeat a task already accomplished by Mr Bond[88]. [87] Bond, I. pp. 154-156. [88] Bond, I. pp. 156-159.