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Updated: June 3, 2025
It was one of the interminable stories out of the Decameron of the bar-room, realistic and obscene, that circulate among drinkers. Dad knew it by heart. He looked at his glass, and remembered that it was his fourth drink. Instantly he thought of the Duchess. With his usual formula "'Scuse me; I'm a married man, y'know," he hurried out of the bar in search of his little present.
Endeth here the first day of the Decameron; beginneth the second, in which, under the rule of Filomena, they discourse of the fortunes of such as after divers misadventures have at last attained a goal of unexpected felicity.
The Proem to the Decameron shews us the after-glow of his passion; the lady herself appears as one of the "honourable company," and her portrait, as in the act of receiving the laurel wreath at the close of the Fourth Day, is a masterpiece of tender and delicate delineation.
Many of these tales are not only immoral but grossly indecent, though but too faithful a representation of the manners of the age in which they were written. The Decameron was published towards the middle of the fourteenth century; and, from the first invention of printing, it was freely circulated in Italy, until the Council of Trent proscribed it in the middle of the sixteenth century.
The Count Lucanor, a work of the fourteenth century, was one of the earliest prose writings in the Spanish tongue, as the Decameron, which was written about the same time, was the first in Italian. Both are narrative tales; but their moral tone is very dissimilar the Decameron was written to amuse, while the Count Lucanor is addressed to a grave and serious nation.
A universal and contagious curiosity was abroad. To this age belong William Paynter's version of the Decameron, entitled The Palace of Pleasure, 1566, from which Shakespeare borrowed; Geoffrey Fenton's translation of Bandello's Tragical Discourses, 1567; Sir Thomas North's rendering of Plutarch's Lives, 1579; Thomas Underdowne's Heliodorus, 1587; Thomas Shelton's Don Quixote, 1612; and others too numerous to mention.
In their work, then, as in their play, men and women are more and more coming to share with each other as comrades, and really the fun of life seems in no wise diminished as a consequence. Rather the contrary, it would seem, if one is to judge from the "Decameron" of the newspapers. Yet it is not very long ago that man looked askance at woman's wistful plea to take part even in his play.
Andrea del Sarto Fiesole sights The Villa Palmieri and the "Decameron" Botticini's picture in the National Gallery S. Francesco The Roman amphitheatre The Etruscan museum A sculptor's walk The Badia di Fiesole Brunelleschi again Giovanni di San Giovanni. After all these pictures, how about a little climbing?
I mention her name because we are passing her villa on the left. No, you can only see it if you stand no, do not stand; you will fall. She is very proud of that thick hedge. Inside, perfect seclusion. One might have gone back six hundred years. Some critics believe that her garden was the scene of The Decameron, which lends it an additional interest, does it not?"
I found also at Ravenna much education and liberality of thinking among the higher classes. The climate is delightful. I was not broken in upon by society. Ravenna lies out of the way of travellers. I was never tired of my rides in the pine forest: it breathes of the Decameron; it is poetical ground. Francesca lived and Dante was exiled and died at Ravenna.
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