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That there was some sort of an orchestra in the "Orfeo" is probable, though it is not wholly certain. The letter of the Envoy Pauluzo on the performance of Ariosto's "Suppositi" at the Vatican in March, 1518, has already been quoted. From this we learn that there was an orchestra containing fifes, bag-pipes, two cornets, some viols and lutes and a small organ.
About this time, Prince Adam Czartoryski's sister came to Dresden, lodging with Count Bruhl. I had the honour of paying my court to her, and I heard from her own mouth that her royal cousin had had the weakness to let himself be imposed on by calumnies about me. I told her that I was of Ariosto's opinion that all the virtues are nothing worth unless they are covered with the veil of constancy.
I do not at all believe in the painful pinching and pulling together of a particular bit of work. Take such a book as Newman's Apologia, written in a few weeks, a piece of perfect art but then it was written in tears." "But on the other hand," said I, "look at Ariosto's Orlando; it took ten years to write and sixteen more to correct and there is not a forced or a languid line in the whole of it."
A bridge used to connect the two towns, but it is now broken. The remaining fragment is of solid build, resting on great buttresses, one of which rises fantastically above the bridge into a little chapel. Such, one might fancy, was the bridge which Ariosto's Rodomonte kept on horse against the Paladins of Charlemagne, when angered by the loss of his love.
Villani, the author of the best History of Florence, was a merchant; Dante, Petrarch, and Boccacio, were all engaged in more or less important embassies; and Dante, before becoming a diplomatist, was for some time occupied as a chemist and druggist. Galileo, Galvani, and Farini were physicians, and Goldoni a lawyer. Ariosto's talent for affairs was as great as his genius for poetry.
There is no attempt to treat the classic subject in a classic spirit: to do that, and to fail in doing it, remained for Cellini. We have, on the contrary, before us an image of the orc, as it appeared to Ariosto's fancy a creature borrowed from romance and made to play its part in a Greek myth.
As a symbol of this gallant rule of conduct, there is still preserved at Ferrara one of Ariosto's inkstands, which is ornamented with a little bronze Cupid, finger upon lip in token of silence.
As a proof of the extent to which Italian books were read in England at the end of the sixteenth century, we may take a stray sentence from a letter of Harvey, in which he disparages the works of Robert Greene: 'Even Guicciardine's silver histories and Ariosto's golden cantos grow out of request: and the Countess of Pembroke's "Arcadia" is not green enough for queasy stomachs; but they must have seen Greene's "Arcadia," and I believe most eagerly longed for Greene's "Faery Queen."
The Faerie Queene reflects, perhaps, more fully than any other English work, the many-sided literary influences of the Renascence. It was the blossom of a richly composite culture. Its immediate models were Ariosto's Orlando Furioso, the first forty cantos of which were published in 1515, and Tasso's Gerusalemme Liberata, printed in 1581.
He, perhaps, would have understood me, since Italians, lovers of art, do not " "On you go!" said Capraja, with a smile, and tapping lightly on the tenor's head. "Ride off on the divine Ariosto's hippogriff; hunt down your radiant chimera, musical visionary as you are!" In point of fact, all the others, believing that Genovese was drunk, let him talk without listening to him.
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