The abbot Bernard thought it necessary to caution the Bishop of Constance against him; but the man who had been condemned by the Pope found protection there from the papal legate, Cardinal Guido, who, indeed, made him a member of his household and companion of his table.

The mild Cardinal Guido, the friend of Abelard and Arnold, became his successor, and called himself, when pope, Celestine II.

Guido and Marozia usurp supreme temporal power in Rome and confine Pope John X in prison, where he dies.

Guido Aretinus invents the staff, and is the first to adopt as names for the notes of the musical scale the initial syllables of the hemistichs of a hymn in honor of St. John the Baptist. 1024.

In the beginning we have an outline of the story, such as it isa horrible story of Count Guido's murder of his beautiful young wife; and Browning tells us in detail just when and how he found a book containing the record of the crime and the trial.

Browning purposes to follow the same plan with his literary material, which consists simply of the evidence given at the trial of Guido in Rome, in 1698.

TAMBURINI Qui Dante fa menzione di Guido Guerra, e meravigliano molti della modestia dell' autore, che da costui e dalla di lui moglie tragga l'origine sua, mentre poteva derivarla care di gratitudine affettuosa a quella,Gualdrada,stipito suo,dandole nome e tramandandola quasi all' eternità, mentre per sè stessa sarebbe forse rimasta sconosciuta.

Here Dante makes mention of Guido Guerras, and many marvel at the modesty of the Author, in deriving his own origin from him and from his wife, when he might have derived it from a more noble source.

In the first place he began with the worthiest, namely, Guido Guerra; and in regard to the description of this man it is to be dwelt upon a little by the reader, because scoff at Dante, because, when he might have described this very distinguished man by his distinguished ancestors and his distinguished deeds, he does describe him by a woman, his grandmother, the Lady Gualdrada.

Again, in giving the account of Guido da Montefeltro, (Inferno, Canto XXVII.,) Benvenuto says on the lines, e poi fui Cordeliero,

Wherefore Dominus Malatesta, having learned from one of his household that Dominus Guido had become a Minorite Friar, took precautions that he should not be made the guardian of Rimini."

This last sentence is rendered by our translator,"One of the household of Malatesta related to me (!) that Ser Guido adopted the dress of a Minorite Friar, and sought by every means not to be appointed guardian of Rimini."

And here take notice, that you may see if great nobility flourished a little before this time in Brettinoro, that, in the days of this Guido, when any noble and honorable man came to the place, there was a great rivalry among the many nobles of Brettinoro, as to which of them should receive the stranger in his house.

Al tempo di Guido in

In the time of Guido in Brettinoro even the nobles ploughed the land; but discords arose among them, and innocence of life disappeared, and with it liberality.

The beauties of Guido's pencil will be traced in No. 6, Hippomenes and Atalanta.

A disposition also to study was now induced: and a certain Guido, a monk of Pomposa, being called to Rome as a music-master, whilst very young, invented the scale or gamut of C notes, which was then esteemed miraculous.

Who shall suppose it possible that Caponsacchi acted thus, that Count Guido was possessed by devils so?

In the second volume, Guido, servile and false, is followed by Caponsacchi, as noble alike in conception and execution as anything that Mr. Browning has ever achieved.

In the third volume, the austere pathos of Pompilia's tale relieves the too oppressive jollity of Don Giacinto, and the flowery rhetoric of Bottini; while in the fourth, the deep wisdom, justice, and righteous mind of the Pope, reconcile us to endure the sulphurous whiff from the pit in the confession of Guido, now desperate, naked, and satanic.

The concluding lines of the Caponsacchi (comprising the last page of the second volume), the appeal of the Greek poet in The Pope, one or two passages in the first Guido (e.g. vol.

Any other human transaction that ever was, tragic or comic or plain prosaic, may be looked at in a like spirit, As the world's talk bubbled around the dumb anguish of Pompilia, or the cruelty and hate of Guido, so it does around the hourly tragedies of all times and places.

What of the Aretine archbishop, to whom Pompilia cried "Protect me from the fiend!" "No, for thy Guido is one heady, strong, Dangerous to disquiet; let him bide!

Besides, Guido is so saturated with hateful and ignoble motive as to fill the surrounding air with influences that preclude heroic association.

And in like manner we may say of Guido Franceschini that even to have touched him in the way of resistance detracts from pure heroism.