About the middle period of the Renaissance a theoretical analysis of wit was undertaken, and its practical application in good society was regulated more precisely. The theorist was Gioviano Pontano.[374] In his work on speaking, especially in the third and fourth books, he tries by means of the comparison of numerous jokes or ‘facetiæ’ to arrive at a general principle. How wit should be used among people of position is taught by Baldassar Castiglione in his ‘Cortigiano.’[375] Its chief function is naturally to enliven those present by the repetition of comic or graceful stories and sayings; personal jokes, on the contrary, are discouraged on the ground that they wound unhappy people, show too much honour to wrong-doers, and make enemies of the powerful and the spoiled children of fortune;[376] and even in repetition, a wide reserve in the use of dramatic gestures is recommended to the gentleman. Then follows, not only for purposes of quotation, but as patterns for future jesters, a large collection of puns and witty sayings, methodically arranged according to their species, among them some that are admirable. The doctrine of Giovanni della Casa, some twenty years later, in his guide to good manners, is much stricter and more cautious;[377] with a view to the consequences, he wishes to see the desire of triumph banished altogether from jokes and ‘burle.’ He is the herald of a reaction, which was certain sooner or later to appear. Italy had, in fact, become a school for scandal, the like of which the world cannot show, not even in France at the time of Voltaire. In him and his comrades there was assuredly no lack of the spirit of negation; but where, in the eighteenth century, was to be found the crowd of suitable victims, that countless assembly of highly and characteristically-developed human beings, celebrities of every kind, statesmen, churchmen, inventors, and discoverers, men of letters, poets and artists, all of whom then gave the fullest and freest play to their individuality? This host existed in the fifteenth and sixteenth centuries, and by its side the general culture of the time had educated a poisonous brood of impotent wits, of born critics and railers, whose envy called for hecatombs of victims; and to all this was added the envy of the famous men among themselves. In this the philologists notoriously led the way--Filelfo, Poggio, Lorenzo Valla, and others--while the artists of the fifteenth century lived in peaceful and friendly competition with one another. The history of art may take note of the fact.