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Updated: June 4, 2025
At the end of his fourth Novella, having related the life of the Contessa di Cellant, Bandello says: "And so the poor woman was beheaded; such was the end of her unbridled desires; and he who would fain see her painted to the life, let him go to the Church of the Monastero Maggiore, and there will he behold her portrait."
In that of November 21st, his mind running on the Bandello, he says, "You would greatly oblige me by jotting down when you have a moment to spare the names of reverends and ecclesiastics who have written and printed facetious books. In English I have Swift and Sterne; in French Rabelais, but I want one more, also two in Italian and two in German." In reply, Mr.
Boccaccio, Sacchetti, Bandello, and Masuccio may be mentioned in particular for their familiar delineation of a profligacy which was interwoven with the national existence. The comic poets take the same course, and delight in ridiculing the gross manners of the clergy. Nor do the ecclesiasties spare themselves. Poggio, the author of the Facetiæ, held benefices and places at the Papal Court.
All real cheerfulness departed from the people, to be replaced only by pleasure in the debaucheries of the buffoonish obscenity of Aretino, Bandello, and so forth, to which the men of the dying Italy of the Renaissance listened as the roysterers of the plague of Florence, with the mortal sickness almost upon them, may have listened to the filthy songs which they trolled out in their drunkenness.
Bather than prolong this list, I will tell a story which drew me one day past the Public Gardens to the metropolitan Church of Venice, San Pietro di Castello. The novella is related by Bandello. It has, as will be noticed, points of similarity to that of 'Romeo and Juliet.
Foxe is the first English authority for the story; and Foxe took it from Bandello, the novelist; but it is confirmed by, or harmonises with, a sketch of Cromwell's early life in a letter of Chappuys, the imperial ambassador, to Chancellor Granvelle.
The novelist Bandello, for example, observes rigorously the rules of his department of literature; he gives us in his novels themselves not a word more than is necessary on the natural scenery amid which the action of his tales takes place, but in the dedications which always precede them we meet with charming descriptions of nature as the setting for his dialogues and social pictures.
Heroic Epic Poetry; Tasso. 5. Lyric Poetry; Bembo, Molza, Tarsia, V. Colonna. 6. Dramatic Poetry; Trissino, Rucellai; the Writers of Comedy. 7. Pastoral Drama and Didactic Poetry; Beccari, Sannazzaro, Tasso, Guarini, Rucellai, Alamanni. 8. Satirical Poetry, Novels, and Tales; Berni, Grazzini, Firenzuola, Bandello, and others. 9. History; Machiavelli, Guicciardini, Nardi, and others. 10.
Poggio, who wrote theFacetiae, was a clergyman; Francesco Berni, the satirist, held a canonry; Teofilo Folengo, the author of theOrlandino, was a Benedictine, certainly by no means a faithful one; Matteo Bandello, who held up his own order to ridicule, was a Dominican, and nephew of a general of this order. Were they encouraged to write by the sense that they ran no risks.
Everything was earnest then. One should remember that most of the stories told by Boccaccio, Sacchetti and Bandello the stories from which Shakespeare got his Italian plays, his Romeo and Juliet, his Merchant of Venice were not inventions, but were founded on the truth.
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