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Updated: June 6, 2025
The picture which we give here is from the earliest work by Giotto of which we have any knowledge. In it were the portraits of Dante, Latini, and several others. This picture was painted on a wall of the Podest
Roman Colonies and Municipia are Praefectura. Peregrini: 1. Latini or Nomen Latinum a. Old Latin towns except such as had been made Municipia b. Colonies of old Latin towns c. Colonies of Italians from all parts of Italy founded by Rome under the name of Latin Colonies 2. Socii, i.e. Free inhabitants of Italy 3. Provincials, i.e. Free subjects of Rome out of Italy
But while he cherished this inward love he continued to study under his master, Brunetto Latini, and acquired not only all the best learning, but also all the most brilliant accomplishments of his day. He had never breathed a word of his love to Beatrice; it was of the unselfish, adoring, chivalrous type, which was content to worship in silence.
If, then, a native of Amalfi did not evolve the idea of the compass out of his own brain, at least it was the old Republic which first impressed the Western world with its immense value, and this, too, at a far earlier period than the date usually assigned to Gioja’s “discovery.” For a Christian bishop of Jerusalem a hundred years before Gioja’s day makes mention of the compass as being in common use amongst the Saracens of Palestine, whilst its existence was certainly known to Brunetto Latini, the tutor of Dante, whom for certain moral failings upon earth his brilliant pupil somewhat harshly places in the infernal regions.
Even on battle-fields, where the voice of this genius is wont to be loudest, they hear only the sound of their own voices; they meet there only their own dull and pedantic thoughts, as the old grammarian Brunetto Latini met on the plain of Roncesvalles a poor student riding on a bay mule. This was not always the case with Paul Flemming, but it had become so now.
The most significant matter connected with this scene in the early version of the poem is the stage direction, which reads thus: "Orfeo cantando sopra il monte in su la lira e seguente versi latini fu interotto da un pastore nunciatore della morte di Euridice." The name of the actor of Orfeo is mentioned as Baccio Ugolino.
The priest was sentenced to death and shot at once; the other two prisoners were dismissed with a reproof. Subsequently orders were issued for their re-arrest. One of them, Latini, had made his escape meanwhile; the other, De Angelis, being less fortunate, was arrested again and executed.
There are different accounts of this measure; but Appian says that he wished to give the Latini the Jus Suffragii and Jus Honorum, and to the rest of the Italians the Jus Suffragii only. Rich and poor Romans met here on the common ground of narrow pride, and the offence caused by this wise project probably paved the way for the tribune's fall.
Once more I return to the early poetry of France, with which our own poetry, in its origins, is indissolubly connected. In the twelfth and thirteenth centuries, that seed-time of all modern language and literature, the poetry of France had a clear predominance in Europe. Of the two divisions of that poetry, its productions in the langue d'oïl and its productions in the langue d'oc, the poetry of the langue d'oc, of southern France, of the troubadours, is of importance because of its effect on Italian literature; the first literature of modern Europe to strike the true and grand note, and to bring forth, as in Dante and Petrarch it brought forth, classics. But the predominance of French poetry in Europe, during the twelfth and thirteenth centuries, is due to its poetry of the langue d'oïl, the poetry of northern France and of the tongue which is now the French language. In the twelfth century the bloom of this romance-poetry was earlier and stronger in England, at the court of our Anglo-Norman kings, than in France itself. But it was a bloom of French poetry; and as our native poetry formed itself, it formed itself out of this. The romance-poems which took possession of the heart and imagination of Europe in the twelfth and thirteenth centuries are French; "they are," as Southey justly says, "the pride of French literature, nor have we anything which can be placed in competition with them." Themes were supplied from all quarters: but the romance-setting which was common to them all, and which gained the ear of Europe, was French. This constituted for the French poetry, literature, and language, at the height of the Middle Age, an unchallenged predominance. The Italian Brunetto Latini, the master of Dante, wrote his Treasure in French because, he says, "la parleure en est plus délitable et plus commune
I must own that the subject of my thesis in Roman law has been artistically chosen with a view to prolonging my stay in Paris: "On the 'Latini Juniani." Yes, gentle reader, a new subject, almost incapable of elucidation, having no connection not the remotest with the exercise of any profession whatsoever, entirely devoid of practical utility. The trouble it gives me is beyond conception.
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