If we were to collect the pearls from the courtly and knightly poetry of all the countries of the West during the two preceding centuries, we should have a mass of wonderful divinations and single pictures of the inward life, which at first sight would seem to rival the poetry of the Italians. Leaving lyrical poetry out of account, Godfrey of Strasburg gives us, in ‘Tristram and Isolt,’ a representation of human passion, some features of which are immortal. But these pearls lie scattered in the ocean of artificial convention, and they are altogether something very different from a complete objective picture of the inward man and his spiritual wealth. Italy, too, in the thirteenth century had, through the ‘Trovatori,’ its share in the poetry of the courts and of chivalry. To them is mainly due the ‘Canzone,’ whose construction is as difficult and artificial as that of the songs of any northern minstrel. Their subject and mode of thought represents simply the conventional tone of the courts, be the poet a burgher or a scholar. But two new paths at length showed themselves, along which Italian poetry could advance to another and a characteristic future. They are not the less important for being concerned only with the formal and external side of the art. To the same Brunetto Latini--the teacher of Dante--who, in his ‘Canzoni,’ adopts the customary manner of the ‘Trovatori,’ we owe the first-known ‘Versi Sciolti,’ or blank hendecasyllabic verses,[708] and in his apparent absence of form, a true and genuine passion suddenly showed itself. The same voluntary renunciation of outward effect, through confidence in the power of the inward conception, can be observed some years later in fresco-painting, and later still in painting of all kinds, which began to cease to rely on colour for its effect, using simply a lighter or darker shade. For an age which laid so much stress on artificial form in poetry, these verses of Brunetto mark the beginning of a new epoch.[709]