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Thus the law "Dei maleficii et herbarie." Cap. XVI. of the code, entitled "Della Commissione del maleficio" says, "Statuimo etiamdio che se alcun homo o femina harra fatto maleficii, iguali so dimandono volgarmente amatorie, o veramente alcuni altri maleficii, che alcun homo o femina se havesson in odio, sia frusta et bollade, et che hara consigliato, patisca simile pena."
The Doge took this light punishment greatly amiss, considering it, indeed, as a further insult. Sabellico says not a word of Michel Steno, or of this definite cause of offence, and Romanin quotes the contemporary records to show that though Alcuni zovanelli fioli de gentiluomini di Venetia are supposed to have affronted the Doge, no such story finds a place in any of them.
Sostennero i Veniziani allora 1' empito del nemico, per numero di navi e di combattenti superiore, e duro il conflitto atroce per molte ore. Rare fiate fu combattuto contro simili nemici con tanta uccisione, perche a pena si costuina d'attaccarsi contro di loro, se non per occasione. Affermano alcuni, che vi furono presenti, esser morte deile ciurme Veniziane da trecento uomini.
The Aminta, while possessing a delicate dramatic structure of its own, yet retains not a little of the simplicity of the ecloga rappresentativa. Indeed, it is worth noting, alike on account of this quality in the poem itself as also of its literary ancestry, that, in a letter written within a year of its original production, Tiburio Almerici speaks of it by the old name of eclogue . Referring to its representation at Urbino, he writes: 'Il terzo spettacolo, che si è goduto questo carnovale, è stato un' egloga del Tasso, che fu recitata questo giovedì passato da alcuni gioveni d' Urbino nella sala, che fu fatta per la venuta delia Principessa. The princess in question was none other than Lucrezia d' Este, who had lately become the wife of Tasso's former companion Francesco Maria della Rovere, now Duke of Urbino, and who with her sister Leonora, the heroine of the Tasso legend, had, it will be remembered, stood sponsor to Beccari's play nearly twenty years before. The representation at Urbino to which Almerici alludes was not of course the first. Written in the winter of 1572-3 during the absence of Duke Alfonso, the piece was acted after his return from Rome in the summer of the latter year. Ferrara, as we have seen, had become and was long destined to remain the special home of the pastoral drama in Italy. Here on July 31, in the palace of Belvedere, built on an island in the Po, the court of the Estensi assembled to witness the production of Tasso's play . The staging, both on this and on subsequent occasions, was no doubt answerable to the nature of the piece, and added the splendour of the masque to the classic grace of the fable. Almerici remarks on the special attractions for spectators and auditors alike of what he calls 'la novit
Finally the conjecture as to the origin of her name, recorded by Sansovino, will be accepted willingly by all who love Venice: "Fu interpretato da alcuni, che questa voce VENETIA voglia dire VENI ETIAM, cioè, vieni ancora, e ancora, percioche quante volte verrai, sempre vedrai nuove cose, enuove bellezze."
IV. Beschreibung der Stadt Rom. On another class of Christian representations the reader may consult Buonarruoti's Osservazioni sopra alcuni frammenti di vetro, ornati di figure.
"A che rispondo a V. Ex. che ditto Zorzo morì più dì fanno da peste, et per voler servir quella ho parlato cum alcuni mei amizi, che havevano grandissime praticha cum lui, quali me affirmano non esser in ditta heredit
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