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"J. J. says, 'I think the birds began to sing louder when she came. We have both agreed that she is the handsomest woman in England. It's not her form merely, which is certainly as yet too thin and a little angular it is her colour. I do not care for woman or picture without colour. O ye carnations! O ye lilia mista rosis! O such black hair and solemn eyebrows!

From the Letters of Doctor Alessandro De Rosis to the Lady Evelyn Savelli, Princess of Sabina. Montemiro Ligure, June 29, 1873. I never expected to come a-begging so soon. For the olive crop has been unusually plenteous.

From this book by de Rosis, printed in 1838, I gleaned two facts, firstly, that the city of Rossano is now 3663 years old quite a respectable age, as towns go and lastly, that in the year 1500 it had its own academy of lettered men, who called themselves "I spensierati," with the motto Non alunt curai an echo, no doubt, of the Neapolitan renaissance under Alfonso the Magnificent.

Lactea cum flavi decuerunt colla capilli, Cum gena par nivibus visa, labella rosis: Cum tua perstringunt oculos duo sydera nostros Perque oculos intrant in mea corda meos." The goddess of love played the poet more than one droll trick. Having approached her with musical flattery, he fled from her with fear and abhorrence.

Besides Suetonius we have a historian, though a minor one, in P. ANNIUS FLORUS, who is now generally identified with the rhetorician and poet mentioned more than once by Pliny, and author of a dialogue, "Vergilius Orator an Poeta," and some lines De Rosis and De Qualitate Vitae.

By his will, dated November 24, 1555, Urbino, whose real name was Francesco degli Amadori of Castel Durante, appointed his old friend and master one of his executors and the chief guardian of his widow and children. A certain Roso de Rosis and Pietro Filippo Vandini, both of Castel Durante, are named in the trust; and they managed the estate. Yet Michelangelo was evidently the principal authority. A voluminous correspondence preserved in the Buonarroti Archives proves this; for it consists of numerous letters addressed by Urbino's executors and family from Castel Durante and elsewhere to the old sculptor in Rome. Urbino had married a woman of fine character and high intelligence, named Cornelia Colonnelli. Two of her letters are printed by Gotti, and deserve to be studied for the power of their style and the elevation of their sentiments. He has not made use, however, of the other documents, all of which have some interest as giving a pretty complete view of a private family and its vexations, while they illustrate the conscientious fidelity with which Michelangelo discharged his duties as trustee. Urbino had a brother, also resident at Castel Durante, Raffaello's celebrated pupil in fresco-painting, Il Fattorino. This man and Vandini, together with Cornelia and her parents and her second husband, Giulio Brunelli, all wrote letters to Rome about the welfare of the children and the financial affairs of the estate. The coexecutor Roso de Rosis did not write; it appears from one of Cornelia's despatches that he took no active interest in the trust, while Brunelli even complains that he withheld moneys which were legally due to the heirs. One of Michelangelo's first duties was to take care that Cornelia got a proper man for her second husband. Her parents were eager to see her married, being themselves old, and not liking to leave a comparatively young widow alone in the world with so many children to look after. Their choice fell first upon a very undesirable person called Santagnolo, a young man of dissolute habits, ruined constitution, bad character, and no estate. She refused, with spirit, to sign the marriage contract; and a few months later wrote again to inform her guardian that a suitable match had been found in the person of Giulio Brunelli of Gubbio, a young doctor of laws, then resident at Castel Durante in the quality of podest