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Neither Dorsenne nor any one else interests her, unfortunately. I sometimes fear she will go into a decline, like her cousin Andryana Navagero, whom she resembles.... But I must cheer her up. It will not take long."
The Countess was far from occupying in Rome the social position which her intelligence, her fortune and her name should have assured her. For, having been born a Navagero, she combined on her escutcheon the cross of gold of the Sebastien Navagero who was the first to mount the walls of Lepante, with the star of the grand Doge Michel.
Neither Dorsenne nor any one else interests her, unfortunately. I sometimes fear she will go into a decline, like her cousin Andryana Navagero, whom she resembles.... But I must cheer her up. It will not take long."
"The dukes," said the Venetian traveller Andrew Navagero, in 1528, "have built there fortress-wise a magnificent palace, with beautiful gardens, groves, fountains, and all the sumptuous appliances of a prince's dwelling." No sooner did the constable go to reside there than numbers of the nobility flocked thither around him.
Neither Dorsenne nor any one else interests her, unfortunately. I sometimes fear she will go into a decline, like her cousin Andryana Navagero, whom she resembles.... But I must cheer her up. It will not take long."
This is the manner of Navagero, in the Ode to the Archangel Gabriel, and particularly of Sannazaro, who goes still further in his appropriation of pagan sentiment.
The elegy of Navagero addressed to the Night, like other poems of the same age and kind, is full of points which remind us of his model; but it has the finest antique ring about it.
Du Bellay has almost been the poet of one poem; and this one poem of his is an Italian thing transplanted into that green country of Anjou; out of the Latin verses of Andrea Navagero, into French: but it is a thing in which the matter is almost nothing, and the form almost everything; and the form of the poem as it stands, written in old French, is all Du Bellay's own.
And where it does so, as, for instance, in the fine Ode to Venus, by Andrea Navagero, it is easy to detect a simple paraphrase of ancient masterpieces. Some of the ode-writers take the saints for their subject, and invoke them in verses tastefully modelled after the pattern of analogous odes of Horace and Catullus.
Indeed Navagero always begins by choosing a truly poetical subject, which he then treats, not with servile imitation, but with masterly freedom, in the style of the Anthology, of Ovid, of Catullus, or of the Virgilian eclogues. He makes a sparing use of mythology, only, for instance, to introduce a sketch of country life, in a prayer to Ceres and other rural divinities.
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