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Updated: June 9, 2025
Altogether lovely in its naturalism, its humorous grace, Verrocchio made it for Lorenzo Magnifico, who placed it in his gardens at Careggi, whence it was brought here by Cosimo I.
But there is one artistic aim which he pursues as earnestly as Pulci, namely, the lively and exact description of all that goes forward. Pulci recited his poem, as one book after another was finished, before the society of Lorenzo il Magnifico, and in the same way Boiardo recited his at the court of Ercole of Ferrara.
And certainly the weather is usually fine while people are courting. . . In point of fact, although the happy man feels very kindly towards others of his own sex, there is apt to be something too much of the magnifico in his demeanour.
He cannot avoid attracting disproportionate attention: why should he wish to fix it on himself in a perfectly flat and insignificant part, viz. his own character? It was a bad custom to bring authors on the stage to crown them. Omne Ignotum pro magnifico est.
She comes to his rescue, and her clairvoyance enables her to see his future prosperity. Having fled from the king, Ma'aruf discovers a magic "souterrain" and a talismanic seal ring, by the aid of which he attains incalculable wealth. Exclaims his friend the merchant when Ma'aruf returns as a magnifico, "Thou hast played off this trick and it hath prospered to thy hand, O Shaykh of Imposters!
I endeavoured to explain it all to Marble; but it was useless; he insisted the Frenchman was sending chocolate from his own table, to his crew, in order to play the magnifico, on the score of his own good luck.
The direct object of this decision of the committee was to provide the bastard son of Charles, Monmouth, with a kingdom of his own; no one knew anything about the resources or possibilities of the domain, and, omne ignotum pro magnifico, it was surmised that it would yield abundant revenues.
Upon the same spot was the favorite residence of Lorenzo Magnifico; concerning whose probable ponderings, as he sat upon his terrace, with his legs dangling over Florence, much may be learned from the guide-book of the immortal Murray, so that he who runs may read and philosophize. Looking at Florence from the hill-top, one is more impressed than ever with the appropriateness of its name.
It is a princely copy of Ben Jonson, the Illustrious. Southey lent it, when he possessed the magnifico, to Coleridge, who has begemmed it all over with his fine pencillings. As Ben once handled the trowel, and did other honorable work as a bricklayer, Coleridge discourses with much golden gossip about the craft to which the great dramatist once belonged.
Undoubtedly the history of a soul is central in the poem; but the drawings of Italian landscape, so sure in outline, so vivid in colour; the views of old Italian city life, rich in the tumult of townsfolk, military chieftains, men-at-arms; the pictures of sombre interiors, and southern gardens, the hillside castle amid its vines, the court of love with its contending minstrels, the midnight camp lit by its fires; and, added to these, the Titianesque portraits of portly magnifico and gold-haired maiden, and thought-worn statist make up an environment which has no inconsiderable poetic value of its own, feeding, as it does, the inner eye with various forms and dyes, and leaving the "spirit in sense" more wealthy.
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