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Such was his extravagant commendation, and, consequently, his hearty approbation of a most unnatural production, "Hermaphroditus," which ultimately received the censure of the author himself, who was ashamed that he had written it, as shown in the following epigram preserved by Cardinal Quirini in his "Diatriba in Epistolas Francisci Barbari":

With these Martellossi, as they were called, the Uzcoques had frequent and sanguinary conflicts. Minucci says of the Martellossi, in his Historia degli Uscochi, that they were "Scelerati barbari anco 'ordine de' medesime Scochi."

The two knights are represented against black grounds, and their silhouettes form a very fine arabesque, which the streamers of their lances, artificially arranged, complete and emphasise. This black ground points probably to the influence of Jacopo de' Barbari, whom Duerer had met and been mystified by. No doubt there was much in such a background that appealed to the draughtsman in Duerer.

Do you want me to adopt the old device of hate: Fuori Barbari, or: France for the French?" "Why not?" asked Christophe. "No. Such a device is not for the French. Any attempt to propagate it among our people under cover of patriotism must fail. It is good enough for barbarian countries! But our country has no use for hatred.

They wished to elevate the people. It was a pun which we should do wrong to smile at. Puns are sometimes serious factors in politics; witness the Castratus ad castra, which made a general of the army of Narses; witness: Barbari et Barberini; witness: Tu es Petrus et super hanc petram, etc., etc.

But the Romans likewise called the aboriginal tribes of North Africa, Moors, or Mauri, and some contend that Moors and Berbers are but two different names for the aboriginal tribes, the former being of Greek and the latter of African origin. The Romans might, however, confound the African term berber with barbari, which latter they applied, like the Greeks, to all strangers and foreigners.

Luigi's reaction to the sinking of the Lusitania was typical of all Rome, all Italy. The same burst of execration and horror was in every mouth. "Fuori i Barbari" was the title of a little anti-German sheet that was appearing in Rome: it got a new significance as it hung in the kiosks or was scanned by scowling men. It became the muttered cry of the street.

At this period Dürer was also engaged in experimenting upon the art of copper-plate engraving, in which he restricted himself mainly to reproducing copies of the works of other artists, among them those of Jacopo de Barbari, a painter of the Italian school, who was residing in Nuremberg, and who among other things gave the great artist instruction in plastic anatomy.

This fashion, this trend of opinion and hope, was the significance behind the effect produced on him by Jacopo de' Barbari, whose charming but ineffectual originality succeeded merely in creating an eddy in that stream. It was the tide behind him which so powerfully stirred and stimulated Duerer.

Egli quantunque nel primo incontro avesse seco disposto d'opprimere le navi Veniziane, si ritenne pero del combattere sin al giorno: tuttavia per esser alia battaglia piu acconcio cosi le seguia, che le prode del corsale toccavano le poppe de Veniziani. Venuto il giorno incontanente i Barbari diedero 1' assalto.