[Footnote 11: See the chapter on Euripides in my _Studies of Greek Poets_, First Series, for a further development of this view of artistic evolution.] [Footnote 12: I find that this story is common in the country round Canossa. It is mentioned by Professor A. Ferretti in his monograph entitled _Canossa, Studi e Ricerche_, Reggio, 1876, a work to which I am indebted, and which will repay careful study.] [Footnote 13: Charles claimed under the will of René of Anjou, who in turn claimed under the will of Joan II.] [Footnote 14: For an estimate of Cosimo's services to art and literature, his collection of libraries, his great buildings, his generosity to scholars, and his promotion of Greek studies, I may refer to my _Renaissance in Italy_: 'The Revival of Learning,' chap. iv.] [Footnote 15: Giottino had painted the Duke of Athens, in like manner, on the same walls.] [Footnote 16: See _Archivio Storico_.] [Footnote 17: The order of rhymes runs thus: _a, b, b, a, a, b, b, a, c, d, c, d, c, d_; or in the terzets, _c, d, e, c, d, e_, or _c, d, e, d, c, e_, and so forth.] [Footnote 18: It has extraordinary interest for the student of our literary development, inasmuch as it is full of experiments in metres, which have never thriven on English soil. Not to mention the attempt to write in asclepiads and other classical rhythms, we might point to Sidney's _terza rima_, poems with _sdrucciolo_ or treble rhymes. This peculiar and painful form he borrowed from Ariosto and Sanazzaro; but even in Italian it cannot be handled without sacrifice of variety, without impeding the metrical movement and marring the sense.] [Footnote 19: The stately structure of the _Prothalamion_ and _Epithalamion_ is a rebuilding of the Italian Canzone. His Eclogues, with their allegories, repeat the manner of Petrarch's minor Latin poems.] [Footnote 20: Marlowe makes Gaveston talk of 'Italian masques.' At the same time, in the prologue to _Tamburlaine_, he shows that he was conscious of the new and nobler direction followed by the drama in England.] [Footnote 21: This sentence requires some qualification. In his _Poesia Popolare Italiana_, 1878, Professor d'Ancona prints a Pisan, a Venetian, and two Lombard versions of our Border ballad 'Where hae ye been, Lord Randal, my son,' so close in general type and minor details to the English, German, Swedish, and Finnish versions of this Volkslied as to suggest a very ancient community of origin. It remains as yet, however, an isolated fact in the history of Italian popular poetry.] [Footnote 22: _Canti Popolari Toscani_, raccolti e annotati da Giuseppe Tigri. Volume unico. Firenze: G. Barbèra, 1869.]