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The printer of the Ferrarese edition of the same year remarks: 'Tosto che la Fama ... mi rapportò, che in Venetia si stampava l' Aminta, ... così subito pensai, che quella sola Impressione dovesse essere ben poca per sodisfattione di tanti virtuosi, che sono desiderosi di vederla alla luce. A critical edition was prepared at Paris in the middle of the following century by Egidio Menagio of the Accademia della Crusca, and dedicated to Maria della Vergna, better known, under her married name of Madame de la Fayette, as the author of the Princesse de Clèves . In 1693 the play was attacked by Bartolomeo Ceva Grimaldi, Duke of Telese, in an address read before the Accademia degli Uniti at Naples . He was answered before the same society by Francesco Baldassare Paglia, and in 1700 appeared Giusto Fontanini's elaborate defence . To each chapter of this work is prefixed a passage from Grimaldi's address, which is then laboriously refuted.
'A man shall find in the wisest sorts of these relations which the Italians make touching conclaves, the natures of the several Cardinals, handsomely and livelily painted forth'; and what he has already said in the general, of this department, he repeats here under this division of it, that the conversation of men in respect to it, is in advance of their books; 'a man shall meet with, in every day's conference, the denominations of sensitive, dry, formal, real, humorous, "huomo di prima impressione, huomo di ultima impressione, and the like": but this is no substitute for science in a matter so radical, 'and yet, nevertheless, this observation, wandereth in words, but is not fixed in inquiry.
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