It has been suggested that this method of seeking to benefit the deserving poor denoted a morbid tendency in Michelangelo's nature; but any one who is acquainted with Italian customs in the Middle Ages and the Renaissance must be aware that nothing was commoner than to dower poor girls or to establish them in nunneries by way of charity.

A student of Cellini's Memoirs, of Florentine history, and of the dark stories in which the private annals of the age abound, will be forced to admit that imaginative men of acute nervous susceptibility, who loved a quiet life and wished to keep their mental forces unimpaired for art and thought, were justified in feeling an habitual sense of uneasiness in Italy of the Renaissance period.

St. Katharine's, sometimes called the Leweston Chapel, contains the Renaissance tomb of John Leweston and his wife.

The present erection is well enough as a specimen of the Classic Renaissance, but need not detain us.

The entrance to the stairs, an arch in the Classic Renaissance style, is a picturesque and much-admired corner of the ruin.

These were the invention of printing, the Renaissance, or revival of classical learning, the discovery of America, and the Protestant Reformation.

The new learning of the Renaissance had not, as yet, taken much hold in England.

Anthologie litteraire de la Renaissance Francaise.

A catalogue of German paintings of the Middle Ages and Renaissance in American collections.

COOMARASWAMY, ANANDA K. Patron and artist; pre-Renaissance and modern.

Western European painting of the Renaissance.

Western European painting of the Renaissance.

RUBEL, VERE L. Poetic diction in the English Renaissance from Skelton through Spenser.

It would appear that the two founders of the renaissance eclogue deliberately chose the Vergilian form as that best suited to their purpose.

A very useful and representative, though of course by no means complete, collection is that by G. Ferrario, in the 'Classici italiani.' Castiglione also figured among the Latin eclogists of his day, and the influence of his Alcon is even traced by Saintsbury in Lycidas (Earlier Renaissance, p. 34).

La Beca is ascribed by mistake to Luca Pulci in the first edition of Symonds' Renaissance.

Symonds, Renaissance, iv.

'What has been well called la voluttà idillicathe sensuous sensibility to beauty, finding fit expression in the Idyllformed a marked characteristic of Renaissance art and literature.'

Renaissance, v. p. 170.

Creizenach remarks that the introduction of a nymph as the beloved of a shepherd is a peculiarity of the renaissance pastoral which manifestly owes its origin to Boccaccio's Ninfale fiesolano (Geschichte des neueren Dramas, ii.

The 'nymphs' who love the shepherds in the renaissance pastorals are nothing but shepherdesses.

[160] This interpretation of the passion of Orpheus, characteristic as it is of renaissance thought, was not original.

p. 128-9. Symonds (Renaissance, v. p. 120) quotes some Latin lines as from the prologue to this play.

Symonds, in dealing with Tasso in the sixth volume of his Italian Renaissance, lays, to my mind very justly, considerable stress upon this quality.

As Saintsbury has pointed out in his History of Criticism, had Aristotle known the romantic drama of the renaissance, the Poetics would have been largely another work.