Renaissance in Italy Volume I Part 9

[4] To multiply the instances of fraud and treason on the part of Italian condottieri would be easy. I have only mentioned the notable examples which fall within a critical period of five years. The Marquis of Pescara betrayed to Charles V. the league for the liberation of Italy, which he had joined at Milan. The Duke of Ferrara received and victualed Bourbon's (then Frundsberg's) army on its way to sack Rome, because he spited the Pope, and wanted to seize Modena for himself. The Duke of Urbino, wis.h.i.+ng to punish Clement VII. for personal injuries, omitted to relieve Rome when it was being plundered by the Lutherans, though he held the commission of the Italian League. Malatesta Baglioni sold Florence, which he had undertaken to defend, to the Imperial army under the Prince of Orange.

[5] 'With the records of these indolent princes and most abject armaments, my history will, therefore, be filled.' Compare the following pa.s.sage in a letter from Machiavelli to Francesco Guicciardini (_Op._ vol. x. p. 255): 'Comincio ora a scrivere di nuovo, e mi sfogo accusando i principi, che hanno fatto ogni cosa per condurci qui.'

CHAPTER V.

THE FLORENTINE HISTORIANS.

Florence, the City of Intelligence--Cupidity, Curiosity, and the Love of Beauty--Florentine Historical Literature--Philosophical Study of History--Ricordano Malespini--Florentine History compared with the Chronicles of other Italian Towns--The Villani--The Date 1300--Statistics--Dante's Political Essays and Pamphlets--Dino Compagni--Latin Histories of Florence in Fifteenth Century--Lionardo Bruni and Poggio Bracciolini--The Historians of the First Half of the Sixteenth Century--Men of Action and Men of Letters: the Doctrinaires--Florence between 1494 and 1537--Varchi, Segni, Nardi, Pitti, Nerli, Guicciardini--The Political Importance of these Writers--The Last Years of Florentine Independence, and the Siege of 1529--State of Parties--Filippo Strozzi--Different Views of Florentine Weakness taken by the Historians--Their Literary Qualities--Francesco Guicciardini and Niccolo Machiavelli--Scientific Statists--Discord between Life and Literature--The Biography of Guicciardini--His 'Istoria d'Italia,' 'Dialogo del Reggimento di Firenze,' 'Storia Fiorentina,'

'Ricordi'--Biography of Machiavelli--His Scheme of a National Militia--Dedication of 'The Prince'--Political Ethics of the Italian Renaissance--The Discorsi--The Seven Books on the Art of War and the 'History of Florence.'

Florence was essentially the city of intelligence in modern times. Other nations have surpa.s.sed the Italians in their genius--the quality which gave a superhuman power of insight to Shakespeare and an universal sympathy to Goethe. But nowhere else except at Athens has the whole population of a city been so permeated with ideas, so highly intellectual by nature, so keen in perception, so witty and so subtle, as at Florence. The fine and delicate spirit of the Italians existed in quintessence among the Florentines. And of this superiority not only they but the inhabitants also of Rome and Lombardy and Naples, were conscious. Boniface VIII., when he received the amba.s.sadors of the Christian powers in Rome on the occasion of the Jubilee in 1300, observed that all of them were citizens of Florence. The witticism which he is said to have uttered, _i Fiorentini essere il quinto elemento_, 'that the men of Florence form a fifth element,' pa.s.sed into a proverb.

The primacy of the Florentines in literature, the fine arts, law, scholars.h.i.+p, philosophy, and science was acknowledged throughout Italy.

When the struggle for existence has been successfully terminated, and the mere instinct of self-preservation no longer absorbs the activities of a people, then the three chief motive forces of civilization begin to operate. These are cupidity, or the desire of wealth and all that it procures; curiosity, or the desire to discover new facts about the world and man; and the love of beauty, which is the parent of all art.

Commerce, philosophy, science, scholars.h.i.+p, sculpture, architecture, painting, music, poetry, are the products of these ruling impulses--everything in fact which gives a higher value to the life of man. Different nations have been swayed by these pa.s.sions in different degrees. The artistic faculty, which owes its energy to the love of beauty, has been denied to some; the philosophic faculty, which starts with curiosity, to others; and some again have shown but little capacity for ama.s.sing wealth by industry or calculation. It is rare to find a whole nation possessed of all in an equal measure of perfection. Such, however, were the Florentines.[1] The mere sight of the city and her monuments would suffice to prove this. But we are not reduced to the necessity of divining what Florence was by the inspection of her churches, palaces, and pictures. That marvelous intelligence which was her pride, burned brightly in a long series of historians and annalists, who have handed down to us the biography of the city in volumes as remarkable for penetrative ac.u.men as for definite delineation and dramatic interest. We possess picture-galleries of pages in which the great men of Florence live again and seem to breathe and move, epics of the commonwealth's vicissitudes from her earliest commencement, detailed tragedies and highly finished episodes, studies of separate characters, and idylls detached from the main current of her story. The whole ma.s.s of this historical literature is instinct with the spirit of criticism and vital with experience. The writers have been either actors or spectators of the drama. Trained in the study of antiquity, as well as in the council-chambers of the republic and in the courts of foreign princes, they survey the matter of their histories from a lofty vantage ground, fortifying their speculative conclusions by practical knowledge and purifying their judgment of contemporary events with the philosophy of the past. Owing to this rare mixture of qualities, the Florentines deserve to be styled the discoverers of the historic method for the modern world. They first perceived that it is unprofitable to study the history of a state in isolation, that not wars and treaties only, but the internal vicissitudes of the commonwealth, form the real subject matter of inquiry,[2] and that the smallest details, biographical, economical, or topographical, may have the greatest value. While the rest of Europe was ignorant of statistics, and little apt to pierce below the surface of events to the secret springs of conduct, in Florence a body of scientific historians had gradually been formed, who recognized the necessity of basing their investigations upon a diligent study of public records, state-papers, and notes of contemporary observers.[3] The same men prepared themselves for the task of criticism by a profound study of ethical and political philosophy in the works of Aristotle, Plato, Cicero, and Tacitus.[4] They examined the methods of cla.s.sical historians, and compared the annals of Greece, Rome, and Palestine with the chronicles of their own country. They attempted to divine the genius and to characterize the special qualities of the nations, cities, and individuals of whom they had to treat.[5] At the same time they spared no pains in seeking out persons possessed of accurate knowledge in every branch of inquiry that came beneath their notice, so that their treatises have the freshness of original doc.u.ments and the charm of personal memoirs. Much, as I have elsewhere noted, was due to the peculiarly restless temper of the Florentines, speculative, variable, unquiet in their politics. The very qualities which exposed the commonwealth to revolutions, developed the intelligence of her historians; her want of stability was the price she paid for intellectual versatility and acuteness unrivaled in modern times. '"_O ingenia magis acria quam matura_," said Petrarch, and with truth, about the wits of the Florentines; for it is their property by nature to have more of liveliness and ac.u.men than of maturity or gravity.'[6]

[1] Since the Greeks, no people have combined curiosity and the love of beauty, the scientific and the artistic sense, in the same proportions as the Florentines.

[2] See Machiavelli's critique of Lionardo d'Arezzo and Messer Poggio, in the Proemio to his _Florentine History_. His own conception of history, as the attempt to delineate the very spirit of a nation, is highly philosophical.

[3] The high sense of the requirements of scientific history attained by the Italians is shown by what Giovio relates of Gian Galeazzo's archives (_Vita di Gio. Galeazzo_, p. 107). After describing these, he adds: 'talche, chi volesse scrivere un'

historia giusta non potrebbe desiderare altronde ne piu abbondante ne piu certa materia; perciocche da questi libri facilissimamente si traggono le cagioni delle guerre, i consigli, e i successi dell'

imprese.' The Proemio to Varchi's _Storie Fiorentine_ (vol. i. pp.

42-44), which gives an account of his preparatory labors, is an unconscious treatise on the model historian. Accuracy, patience, love of truth, sincerity in criticism, and laborious research, have all their proper place a.s.signed to them. Compare Guicciardini, _Ricordi_, No. cxliii., for sound remarks upon the historian's duty of collecting the statistics of his own age and country.

[4] The prefaces to Giannotti's critiques of Florence and of Venice show how thoroughly his mind had been imbued with the _Politics_ of Aristotle. Varchi acknowledges the direct influence of Polybius and Tacitus. Livy is Machiavelli's favorite.

[5] On this point the Relazioni of Italian amba.s.sadors are invaluable. What dryly philosophical compendia are the notes of Machiavelli upon the French Court and Cesare Borgia! How astute are the Venetian letters on the opinions and qualities of the Roman Prelates!

[6] Guicc. _Ricordi_, cciii. _Op. Ined._ vol. i. p. 229.

The year 1300 marks the first development of historical research in Florence. Two great writers, Dante Alighieri and Giovanni Villani, at this epoch pursued different lines of study, which determined the future of this branch of literature for the Italians. It is not uncharacteristic of Florentine genius that while the chief city of Tuscany was deficient in historians of her achievements before the date which I have mentioned, her first essays in historiography should have been monumental and standard-making for the rest of Italy. Just as the great burghs of Lombardy attained munic.i.p.al independence somewhat earlier than those of Tuscany, so the historic sense developed itself in the valley of the Po at a period when the valley of the Arno had no chronicler. Sire Raul and Ottone Morena, the annalists of Milan, Fra Salimbene, the sagacious and comprehensive historian of Parma, Rolandino, to whom we owe the chronicle of Ezzelino and the tragedy of the Trevisan Marches, have no rivals south of the Apennines in the thirteenth century. Even the Chronicle of the Malespini family, written in the vulgar tongue from the beginning of the world to the year 1281, which occupies 146 volumes of Muratori's Collection, and which used to be the pride of Tuscan antiquarians, has recently been shown to be in all probability a compilation based upon the Annals of Villani.[1] This makes the clear emergence of a scientific sense for history in the year 1300 at Florence all the more remarkable. In order to estimate the high quality of the work achieved by the Villani it is only necessary to turn the pages of some early chronicles of sister cities which still breathe the spirit of unintelligent mediaeval industry, before the method of history had been critically apprehended. The navete of these records may be appreciated by the following extracts. A Roman writes[2]: 'I Lodovico Bonconte Monaldeschi was born in Orvieto, and was brought up in the city of Rome, where I have resided. I was born in the year 1327, in the month of June, at the time when the Emperor Lodovico came. Now I wish to relate the whole history of my age, seeing that I lived one hundred and fifteen years without illness, except that when I was born I fainted, and I died of old age, and remained in bed twelve months on end.' Burigozzo's Chronicle of Milan, again, concludes with these words:[3] 'As you will see in the Annals of my son, inasmuch as the death which has overtaken me prevents my writing more.' Chronicles conceived and written in this spirit are diaries of events, repertories of strange stories, and old wives' tales, without a deep sense of personal responsibility, devoid alike of criticism and artistic unity.

Very different is the character of the historical literature which starts into being in Florence at the opening of the fourteenth century.

[1] See Paul Scheffer-Boichorst, _Florentiner Studien_, Leipzig, 1874, Carl Hegel, in his defense of Compagni, _Die Chronik des Dino Compagni, Versuch einer Rettung_, Leipzig, 1875, admits the proof of spuriousness. See the preface, p. v.

The point, however, is still disputed by Florentine scholars of high authority. Gino Capponi, in his _Storia della Repubblica di Firenze_ (vol. i. Appendix, final note), observes that while the Villani are popular in tone the Malespini Chronicle is feudal. Adolfo Bartoli (_Storia della Lett. It._ vol. iii. p.

155) treats the question as still open. The custom of preserving brief _fasti_ in the archives of great houses rendered such compilations as the Malespini Chronicle is now supposed to have been both easy and attractive. The Christian name _Ricordano_ given to the first Malespini annalist does not exist. It has been suggested that it is due to a misreading of an initial sentence, _Ricordano i Malespini_.

[2] Muratori, vol. xii. p. 529.

[3] _Arch. Stor._ vol. iii. p. 552. Both Monaldeschi and Burigozzo appear to mention their own death. The probability is that their annals, as we have them, have been freely dealt with by transcribers or continuators adopting the historic 'I' after the decease of the t.i.tular authors.

Giovanni Villani relates how, having visited Rome on the occasion of the Jubilee, when 200,000 pilgrims crowded the streets of the Eternal City, he was moved in the depth of his soul by the spectacle of the ruins of the discrowned mistress of the world.[1] 'When I saw the great and ancient monuments of Rome, and read the histories and the great deeds of the Romans, written by Virgil, and by Sall.u.s.t, and by Lucan, and by Livy, and by Valerius, and Orosius, and other masters of history, who related small as well as great things of the acts and doings of the Romans, I took style and manner from them, though, as a learner, I was not worthy of so vast a work.' Like our own Gibbon, musing upon the steps of Ara Celi, within sight of the Capitol, and within hearing of the monks at prayer, he felt the _genius loci_ stir him with a mixture of astonishment and pathos. Then 'reflecting that our city of Florence, the daughter and the creature of Rome, was in the ascendant toward great achievements, while Rome was on the wane, I thought it seemly to relate in this new Chronicle all the doings and the origins of the town of Florence, as far as I could collect and discover them, and to continue the acts of the Florentines and the other notable things of the world in brief onwards so long as it shall be G.o.d's pleasure, hoping in whom by His grace I have done the work rather than by my poor knowledge; and therefore in the year 1300, when I returned from Rome, I began to compile this book, to the reverence of G.o.d and Saint John and the praise of this our city Florence.' The key-note is struck in these pa.s.sages.

Admiration for the past mingles with prescience of the future. The artist and the patriot awake together in Villani at the sight of Rome and the thought of Florence.

[1] Lib. viii. cap. 36.

The result of this visit to Rome in 1300 was the Chronicle which Giovanni Villani carried in twelve books down to the year 1346. In 1348 he died of the plague, and his work was continued on the same plan by his brother Matteo. Matteo in his turn died of plague in 1362, and left the Chronicle to his son Filippo, who brought it down to the year 1365.

Of the three Villani, Giovanni is the greatest, both as a master of style and as an historical artist. Matteo is valuable for the general reflections which form exordia to the eleven books that bear his name.

Filippo was more of a rhetorician. He is known as the public lecturer upon the Divine Comedy, and as the author of some interesting but meager lives of eminent Florentines, his predecessors or contemporaries.

The Chronicle of the Villani is a treasure-house of clear and accurate delineations rather than of profound a.n.a.lysis. Not only does it embrace the whole affairs of Europe in annals which leave little to be desired in precision of detail and brevity of statement; but, what is more to our present purpose, it conveys a lively picture of the internal condition of the Florentines and the statistics of the city in the fourteenth century. We learn, for example, that the ordinary revenues of Florence amounted to about 300,000 golden florins,[1] levied chiefly by way of taxes--90,200 proceeding from the octroi, 58,300 from the retail wine trade, 14,450 from the salt duties, and so on through the various imposts, each of which is carefully calculated. Then we are informed concerning the ordinary expenditure of the Commune--15,240 lire for the podesta and his establishment, 5,880 lire for the Captain of the people and his train, 3,600 for the maintenance of the Signory in the Palazzo, and so on down to a sum of 2,400 for the food of the lions, for candles, torches, and bonfires. The amount spent publicly in almsgiving; the salaries of amba.s.sadors and governors; the cost of maintaining the state armory; the pay of the night-watch; the money spent upon the yearly games when the palio was run; the wages of the city trumpeters; and so forth, are all accurately reckoned. In fact the ordinary Budget of the Commune is set forth. The rate of extraordinary expenses during war-time is estimated on the scale of sums voted by the Florentines to carry on the war with Martino della Scala in 1338. At that time they contributed 25,000 florins monthly to Venice, maintained full garrisons in the fortresses of the republic, and paid as well for upwards of 1,000 men at arms. In order that a correct notion of these balance-sheets may be obtained, Villani is careful to give particulars about the value of the florin and the lira, and the number of florins coined yearly. In describing the condition of Florence at this period, he computes the number of citizens capable of bearing arms, between the ages fifteen and seventy, at 25,000; the population of the city at 90,000, not counting the monastic communities, nor including the strangers, who are estimated at about 15,000. The country districts belonging to Florence add 80,000 to this calculation. It is further noticed that the excess of male births over female was between 300 and 500 yearly in Florence, that from 8,000 to 10,000 boys and girls learned to read; that there were six schools, in which from 10,000 to 12,000 children learned arithmetic; and four high schools, in which from 550 to 600 learned grammar and logic.

Then follows a list of the religious houses and churches: among the charitable inst.i.tutions are reckoned 30 hospitals capable of receiving more than 1,000 sick people. Here too it may be mentioned that Villani reckons the beggars of Florence at 17,000, with the addition of 4,000 paupers and sick persons and religious mendicants.[2] These mendicants were not all Florentines, but received relief from the city charities.

The big wool factories are numbered at upwards of two hundred; and it is calculated that from sixty to eighty thousand pieces of cloth were turned out yearly, to the value in all of about 1,200,000 florins. More than 30,000 persons lived by this industry. The _calimala_ factories, where foreign cloths were manufactured into fine materials, numbered about twenty. These imported some 10,000 pieces of cloth yearly, to the value of 300,000 florins. The exchange offices are estimated at about eighty in number. The fortunes made in Florence by trade and by banking were colossal for those days. Villani tells us that the great houses of the Bardi and Peruzzi lent to our King Edward III. more than 1,365,000 golden florins.[3] 'And mark this,' he continues, 'that these moneys were chiefly the property of persons who had given it to them on deposit.' This debt was to have been recovered out of the wool revenues and other income of the English; in fact, the Bardi and Peruzzi had negotiated a national loan, by which they hoped to gain a superb percentage on their capital. The speculation, however, proved unfortunate; and the two houses would have failed, but for their enormous possessions in Tuscany. We hear, for example, of the Bardi buying the villages of Vernia and Mangona in 1337.[4] As it was, their credit received a shock from which it never thoroughly recovered; and a little later on, in 1342, after the ruinous wars with the La Scala family and Pisa, and after the loss of Lucca, they finally stopped payment and declared themselves bankrupt.[5] The shock communicated by this failure to the whole commerce of Christendom is well described by Villani.[6] The enormous wealth ama.s.sed by Florentine citizens in commerce may be still better imagined when we remember that the Medici, between the years 1434 and 1471, spent some 663,755 golden florins upon alms and public works, of which 400,000 were supplied by Cosimo alone.

But to return to Villani; not content with the statistics which I have already extracted, he proceeds to calculate how many bushels of wheat, hogsheads of wine, and head of cattle were consumed in Florence by the year and the week.[7] We are even told that in the month of July 1280, 40,000 loads of melons entered the gate of San Friano and were sold in the city. Nor are the manners and the costume of the Florentines neglected: the severe and decent dress of the citizens in the good old times (about 1260) is contrasted with the new-fangled fas.h.i.+ons introduced by the French in 1342.[8] In addition to all this miscellaneous information may be mentioned what we learn from Matteo Villani concerning the foundation of the Monte or Public Funds of Florence in the year 1345,[9] as well as the remarkable essay upon the economical and other consequences of the plague of 1348, which forms the prelude to his continuation of his brother's Chronicle.[10]

[1] xi. 62.

[2] x. 162.

[3] xi. 88.

[4] xi. 74. On this occasion a law was pa.s.sed forbidding citizens to become lords of districts within the territory of Florence.

[5] xi. 38.

[6] xi. 88.

[7] xi, 94.

[8] vi. 69; xii. 4.

[9] iii. 106.

[10] i. 1-8.

In his survey of the results of the Black Death, Matteo notices not only the diminution of the population, but the alteration in public morality, the displacement of property, the increase in prices, the diminution of labor, and the multiplication of lawsuits, which were the consequences direct or indirect of the frightful mortality. Among the details which he has supplied upon these topics deserve to be commemorated the enormous bequests to public charities in Florence--350,000 florins to the Society of Orsammichele, 25,000 to the Compagnia della Misericordia, and 25,000 to the Hospital of Santa Maria Nuova. The poorer population had been almost utterly destroyed by the plague; so that these funds were for the most part wasted, misapplied, and preyed upon by mal-administrators.[1] The foundation of the University of Florence is also mentioned as one of the extraordinary consequences of this calamity.

[1] Matteo Villani expressly excepts the Hospital of S. Maria Nuova, which seems to have been well managed.

The whole work of the Villani remains a monument, unique in mediaeval literature, of statistical patience and economical sagacity, proving how far in advance of the other European nations were the Italians at this period.[1] Dante's aim is wholly different. Of statistics and of historical detail we gain but little from his prose works. His mind was that of a philosopher who generalizes, and of a poet who seizes salient characteristics, not that of an annalist who aims at scrupulous fidelity in his account of facts. I need not do more than mention here the concise and vivid portraits, which he has sketched in the Divine Comedy, of all the chief cities of Italy; but in his treatise 'De Monarchia' we possess the first attempt at political speculation, the first essay in const.i.tutional philosophy, to which the literature of modern Europe gave birth; while his letters addressed to the princes of Italy, the cardinals, the emperor and the republic of Florence, are in like manner the first instances of political pamphlets setting forth a rationalized and consistent system of the rights and duties of nations. In the 'De Monarchia' Dante bases a theory of universal government upon a definite conception of the nature and the destinies of humanity. Amid the anarchy and discord of Italy, where selfishness was everywhere predominant, and where the factions of the Papacy and Empire were but cloaks for party strife, Dante endeavors to bring his countrymen back to a sublime ideal of a single monarchy, a true _imperium_, distinct from the priestly authority of the Church, but not hostile to it,--nay, rather seeking sanction from Christ's Vicar upon earth and affording protection to the Holy See, as deriving its own right from the same Divine source.

Political science in this essay takes rank as an independent branch of philosophy, and the points which Dante seeks to establish are supported by arguments implying much historical knowledge, though quaintly scholastic in their application. The Epistles contain the same thoughts: peace, mutual respect, and obedience to a common head, the duty of the chief to his subordinates and of the governed to their lord, are urged with no less force, but in a more familiar style and with direct allusion to the events which called each letter forth. They are in fact political brochures addressed by a thinker from his solitude to the chief actors in the drama of history around him. Nor would it here be right to omit some notice of the essay 'De Vulgari Eloquio,' which, considering the date of its appearance, is no less original and indicative of a new spirit in the world than the treatise 'De Monarchia.' It is an attempt to write the history of Italian as a member of the Romance Languages, to discuss the qualities of its several dialects, and to prove the advantages to be gained by the formation of a common literary tongue for Italy. Though Dante was of course devoid of what we now call comparative philology, and had but little knowledge of the first beginnings of the languages which he discusses, yet it is not more than the truth to say that this essay applies the true method of critical a.n.a.lysis for the first time to the subject, and is the first attempt to reason scientifically upon the origin and nature of a modern language.

[1] We must remember that our own annalists, Holinshed and Stow, were later by two centuries than the Villani.

While discussing the historical work of Dante and the Villani, it is impossible that another famous Florentine should not occur to our recollection, whose name has long been connected with the civic contests that resulted in the exile of Italy's greatest poet from his native city. Yet it is not easy for a foreign critic to deal with the question of Dino Compagni's Chronicle--a question which for years has divided Italian students into two camps, which has produced a voluminous literature of its own, and which still remains undecided. The point at issue is by no means insignificant. While one party contends that we have in this Chronicle the veracious record of an eye-witness, the other a.s.serts that it is the impudent fabrication of a later century, composed on hints furnished by Dante, and obscure doc.u.ments of the Compagni family, and expressed in language that has little of the fourteenth century. The one regards it as a faithful narrative, deficient only in minor details of accuracy. The other stigmatizes it as a wholly untrustworthy forgery, and calls attention to numberless mistakes, confusions, misconceptions, and misrepresentations of events, which place its genuineness beyond the pale of possibility. After a careful consideration of Scheffer's, Fanfani's, Gino Capponi's, and Isidoro del Lungo's arguments, it seems to me clearly established that the Chronicle of Dino Compagni can no longer be regarded as a perfectly genuine doc.u.ment of fourteenth-century literature. In the form in which we now possess it, we are rather obliged to regard it as a _rifacimento_ of some authentic history, compiled during the course of the fifteenth century in a prose which bears traces of the post-Boccaccian style of composition.[1] Yet the authority of Dino Compagni has long been such, and such is still the literary value of the monograph which bears his name, that it would be impertinent to dismiss the 'Chronicle'

unceremoniously as a mere fiction. I propose, therefore, first to give an account of the book on its professed merits, and then to discuss, as briefly as I can, the question of its authenticity.

[1] The first critic to call Compagni's authenticity in question was Pietro Fanfani, in an article of _Il Pievano Arlotto_, 1858. The cause was taken up, shortly after this date, by an abler German authority, P. Scheffer-Boichorst. The works which I have studied on this subject are, 1. _Florentiner Studien_, von P.

Scheffer-Boichorst, Leipzig, Hirzel, 1874. 2. _Dino Compagni vendicato dalla Calunnia di Scrittore della Cronica_, di Pietro Fanfani, Milano, Carrara, 1875. 3. _Die Chronik des Dino Compagni, Versuch einer Rettung_, von Dr. Carl Hegel, Leipzig, Hirzel, 1875.

4. _Die Chronik des Dino Compagni, Kritik der Hegelschen Schrift_, von P. Scheffer-Boichorst, Leipzig, Hirzel, 1875. 5. The note appended to Gino Capponi's _Storia della Repubblica di Firenze_. 6.

_Dino Compagni e la sua Chronica_, per Isidoro del Lungo, Firenze, Le Mornier. Unluckily, the last-named work, though it consists already of two bulky volumes in large 8vo, is not yet complete; and the part which will treat of the question of authors.h.i.+p and MS.

authority has not appeared.