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Less pastoral in motive and less connected in narrative, but of even greater importance in the formation of pastoral taste, is the famous Giostra written in honour of the young Giuliano de' Medici. I have already more than once had occasion to mention its author, Angelo Ambrogini, better known from the place of his birth as Poliziano or Politian , the contemporary, dependent, and fellow-littérateur of Lorenzo il Magnifico, and the greatest scholar and learned writer of the Italian renaissance. As the author of the Orfeo he will occupy our attention when we come to trace the evolution of the pastoral drama. Though he left no poems belonging to the recognized forms of pastoral composition, his work constantly borders upon the kind, and evinces a genuine sympathy with rustic life which makes the ascription to him of the already quoted modernization of Sacchetti not inappropriate. He left several other pieces of a similar nature, some of which at least are known to be adaptations of popular songs . Such, for instance, is the irregular canzone beginning: The Giostra is composed, like its predecessors, in the octave stanza, and presents a series of pictures drawn from classical mythology or from the poet's own imagination, adorned with all the physical beauty the study of antiquity could supply and a rich and refined taste crystallize into chastest jewellery of verse . This blending of luxuriance and delicacy is the characteristic quality of Poliziano's and Lorenzo's poetry. It is admirably expressed in the phrase of a recent critic, 'the decorum of things exquisite. After the lapse of another half-century, during which the renaissance advanced from its graceful youth to the full bloom of its maturity, appeared the Ninfa tiberina of Francesco Maria Molza. 'The volutt