And, finally, contemporary history was now treated in hexameters or distichs, sometimes in a narrative and sometimes in a panegyrical style, but most commonly to the honour of some prince or princely family. We thus meet with a Sforziad, a Borseid, a Laurentiad, a Borgiad, a Trivulziad, and the like. The object sought after was certainly not attained; for those who became famous and are now immortal owe it to anything rather than to this sort of poems, for which the world has always had an ineradicable dislike, even when they happen to be written by good poets. A wholly different effect is produced by smaller, simpler and more unpretentious scenes from the lives of distinguished men, such as the beautiful poem on Leo X's 'Hunt at Palo,' or the 'Journey of Aulius II' by Adrian of Corneto. Brilliant descriptions of hunting-parties are found in Ercole Strozzi, in the above-mentioned Adrian, and in others; and it is a pity that the modern reader should allow himself to be irritated or repelled by the adulation with which they are doubtless filled. The masterly treatment and the considerable historical value of many of these most graceful poems guarantee to them a longer existence than many popular works of our own day are likely to attain.

In general, these poems are good in proportion to the sparing use of the sentimental and the general. Some of the smaller epic poems, even of recognized masters, unintentionally produce, by the ill-timed introduction of mythological elements, an impression that is indescribably ludicrous. Such, for instance, is the lament of Ercole Strozzi on Cesare Borgia. We there listen to the complaint of Roma, who had set all her hopes on the Spanish Popes, Calixtus III and Alexander VI, and who saw her promised deliverer in Cesare. His history is related down to the catastrophe of 1503. The poet then asks the Muse what were the counsels of the gods at that moment, and Erato tells how, upon Olympus, Pallas took the part of the Spaniards, Venus of the Italians, how both then embrace the knees of Jupiter, how thereupon he kisses them, soothes them, and explains to them that he can do nothing against the fate woven by the Parc, but that the divine promises will be fulfilled by the child of the House of Este-Borgia.60 After relating the fabulous origin of both families, he declares that he can confer immortality on Cesare as little as he could once, in spite of all entreaties, on Memnon or Achilles; and concludes with the consoling assurance that Cesare, before his own death, will destroy many people in war. Mars then hastens to Naples to stir up war and confusion, while Pallas goes to Nepi, and there appears to the dying Cesare under the form of Alexander VI. After giving him the good advice to submit to his fate and be satisfied with the glory of his name, the papal goddess vanishes 'like a bird.'

Yet we should needlessly deprive ourselves of an enjoyment which is sometimes very great, if we threw aside everything in which classical mythology plays a more or less appropriate part. Here, as in painting and sculpture, art has often ennobled what is in itself purely conventional. The beginnings of parody are also to be found by lovers of that class of literature, e.g. in the Macaroneid-- to which the comic Feast of the Gods, by Giovanni Bellini, forms an early parallel.

Many, too, of the narrative poems in hexameters are merely exercises, or adaptations of histories in prose, which latter the reader will prefer, where he can find them. At last, everything-- every quarrel and every ceremony--came to be put into verse, and this even by the German humanists of the Reformation. and yet it would be unfair to attribute this to mere want of occupation, or to an excessive facility in stringing verses together. In Italy, at all events, it was rather due to an abundant sense of style, as is further proved by the mass of contemporary reports, histories, and even pamphlets, in the 'terza rima.' Just as Niccolo da Uzzano published his scheme for a new constitution, Machiavelli his view of the history of his own time, a third, the life of Savonarola, and a fourth the siege of Piombino by Alfonso the Great, in this difficult meter, in order to produce a stronger effect, so did many others feel the need of hexameters, in order to win their special public. What was then tolerated and demanded, in this shape, is best shown by the didactic poetry of the time. Its popularity in the fifteenth century is something astounding. The most distinguished humanists were ready to celebrate in Latin hexameters the most commonplace, ridiculous, or disgusting themes, such as the making of gold, the game of chess, the management of silkworms, astrology, and venereal diseases (morbus gallicus), to say nothing of many long Italian poems of the same kind. Nowadays this class of poem is condemned unread, and how far, as a matter of fact, they are really worth the reading, we are unable to say. One thing is certain: epochs far above our own in the sense of beauty--the Renaissance and the Greco-Roman world--could not dispense with this form of poetry. It may be urged in reply, that it is not the lack of a sense of beauty, but the greater seriousness and the altered method of scientific treatment which renders the poetical form inappropriate, on which point it is unnecessary to enter.

One of these didactic works has been occasionally republished--the 'Zodiac of Life,' by Marcellus Palingenius (Pier Angelo Manzolli), a secret adherent of Protestantism at Ferrara, written about 1528. With the loftiest .speculations on God, virtue, and immortality, the writer connects the discussion of many questions of practical life, and is, on this account, an authority of some weight in the history of morals. On the whole, however, his hi fruit of contrast, nor the 'burla,' for their subject; their aim is merely to give simple and elegant expression to wise sayings and pretty stories or fables. But if anything proves the great antiquity of the collection, it is precisely this absence of satire. For with the fourteenth century comes Dante, who, in the utterance of scorn, leaves all other poets in the world far behind, and who, if only on account of his great picture of the deceivers, must be called the chief master of colossal comedy. With Petrarch begin the collections of witty sayings after the pattern of Plutarch (Apophthegmata, etc.).

is no verbal imitation, in precisely the tone and style of the verses on Lesbia's sparrow. There are short poems of this sort, the date of which even a critic would be unable to fix, in the absence of positive evidence that they are works of the fifteenth and sixteenth centuries.