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Updated: May 11, 2025
We liked Ariosto better than Tasso, and Petrarch had our whole admiration, while Tassoni and Muratori, who had been his critics, were the special objects of our contempt.
On a disputable scrap of this kind no argument can be based; there is no evidence even to show that the thing was in existence at all until Muratori published it; it is never referred to by any early writer, nor is there a scintilla of evidence that it was known to the early Church.
The story is told in many ways, but that is the main truth of it, according to Muratori, whom Gibbon calls his guide and master in the history of Italy, but whom he did not follow altogether in his brief sketch of Crescenzio's life and death, and their consequences. The Crescenzi lived on, in power and great state.
It was, therefore, necessary that a cause should be given for this supreme gleaming amid the general mists of the dull and heavy Chronicle of de Quero; Muratori, accordingly, very properly dispels the wonder of the reader by informing him that he is "here listening to Poggio writing, and in a style," he adds, "which Reduxis was about the last man to imitate": "itaque heic audis Poggium scribentem, et quidem stylo, quem aequare Redusius minime gentium poterat."
And in the Duomo of Florence, the fiery Dominican friar, Fra Girolamo of San Marco, preaching with passionate fervour to the crowds who hung on his lips, boldly denounced the shameless profligacy that reigned in high places, and warned the Church and the world of the avenging sword of the Lord. Muratori, R. L. S., xxiv. 284. E. Motta in Giorn. st. d. lett. Ital., vii. 387.
The family of Este was the most ancient and illustrious in Italy. The house of Brunswick, from which our own royal family is descended, was a shoot from this parent stock. It intermarried with the principal reigning families of Europe. Leibnitz, Muratori, and our own great historian, Gibbon, have traced the lineage and chronicled the family incidents of this ducal house.
See Muratori, vol. xxiii., or the passage translated by me in Vol. I., Age of the Despots, p. 480. His "Madonna" in S. Domenico is dated 1221. For a full discussion of Guido da Siena's date, see Crowe and Cavalcaselle, vol. i. pp. 180-185. On their coins the Sienese struck this legend: "Sena vetus Civitas Virginis."
Like their compatriot, Columbanus, these accomplished men had passed their youth and early manhood in their own country, and to its schools are to be transferred the compliments paid to their acquirements by such competent judges as Muratori, Latronne, and Alexander von Humboldt.
Pliny says that Chares executed the statue in three years, and he relates several interesting particulars, as that few persons could embrace its thumb, and that the fingers were as long as an ordinary statue. Muratori reckons this one of the fables of antiquity.
Maffei, already spoken of as the first reformer of Italian tragedy, surpassed Muratori in the purity of his style, and was only second to him in the extent and variety of his erudition. He wrote several works on the antiquities and monuments of Italy. It is founded exclusively on the interpretations of ancient monuments in marble and metal.
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