Gower’s _Confessio Amantis_ is under the same kinds of obligation. In this work Boccaccio shows the usual Italian love, and also power, of depicting in words whatever the eye sees, a love and power which recall the Italian fondness for realistic painting. There is in the Italian genius at all times this same quality. In Ariosto or in Tasso, as in Boccaccio, there appears this affection for word-painting, always skilful and complete, but often carried to excess and satiety. Meanwhile, for students of English literature, there is other work of Boccaccio’s which possesses no small importance. His two heroic poems, _La Teseide_ and _Filostrato_, were the source of Chaucer’s _Knight’s Tale_ and his _Troilus and Cressida_, as well as of all the compositions for which these have served as models. _La Teseide_ is the story of Palamon and Arcite and their rivalry for the hand of Emilia; and Chaucer, Fletcher, and Dryden are among the English writers who have handled this theme. _Filostrato_ is the story of Troilus and Cressida, and to compare Chaucer with Boccaccio is to see how different is the characteristic Italian light-hearted and rather cynically objective contemplation of the struggle of innocence and vice, from the English tendency to the dramatic and subjective realization of the pathos of love and suffering. For other copying of Boccaccio it may be enough to refer to Lydgate’s _Falls of Princes_ and to the _Mirror for Magistrates_ (1559) based on the _De Casibus Illustrium Virorum_ of the Italian. * * * * *