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The old man in the Andria of Terence arranges briefly and conveniently the subjects with which he wishes his freedman to become acquainted "And thus the life and habits of my son And my designs respecting his career, And what I wish your course towards both to be, Will be quite plain to you."

The influence of the French architects, as Emile Bertaux has demonstrated in the first volume of his Art dans l'Italie Méridionale, extended far beyond the limits of France, and is clearly traceable in the fine hunting-palace, erected for Frederic II. in the thirteenth century, at Castello del Monte, near Andria, in Apulia.

Bisceglie, formerly pronounced and written Biseglia or Biselli. Quadrata is now Corato, near Andria. Lucretia, now Duchess of Biselli, had been living since July, 1498, with a new husband, a youth of seventeen, she herself having just completed her eighteenth year.

The Spanish captain sent back an insolent answer, saying that he would not withdraw anything he had said, and that he would prove his words in mortal combat within twelve days, two miles from the walls of Andria. In fixing this date he knew that Bayard was ill at the time with a quartan fever.

Terence as a rule does not base his play upon a single Greek original, but levies contributions from two or more, and exercises his talent in harmonising the different elements. This process is known as contamination; a word that first occurs in the prologue to the Andria, and indicates an important and useful principle in imitative dramatic literature.

Terence makes no allusion by name to any of his contemporaries; but a line in the Andria is generally supposed to refer to Caecilius, and to indicate his friendly feeling, somewhat as Virgil indicates his admiration for Ennius in the opening of the third Georgic.