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Doubtless Casella, who was born in 1300 and set to music Dante's sonnet "Amor che nella mente," was one of the cantori a liuto. Minuccio d'Arezzo, mentioned by Boccaccio, was another. Here again we must recur to the observations of Burney and the examinations of Ambros. The former records that in the Vatican there is a poem by Lemmo of Pistoja, with the note "Casella diede il suono."
The sonnet, likewise, is a lyric form which illustrates the delicate balance between freedom and restraint. Let us look first at its structure, and then at its capacity for expressing thought and feeling. Both name and structure are Italian in origin, "sonetto" being the diminutive of "suono," sound. Dante and Petrarch knew it as a special lyric form intended for musical accompaniment.
The letter of the Marchesa of Cotrone of February 1st is in the library of Mantua, and there are several other letters in the archives of that city written by her to Gonzaga regarding the festivities. Qual Madama Sposa danzò molte danze al suono delli suoi Tamburini alla Romanesca e Spagnuola: report of Niccolò Gagnolo of Parma, who had accompanied the French ambassador to Ferrara.
Of all the follies of the world, that which is most universally received is the solicitude of reputation and glory; which we are fond of to that degree as to abandon riches, peace, life, and health, which are effectual and substantial goods, to pursue this vain phantom and empty word, that has neither body nor hold to be taken of it: La fama, ch'invaghisce a un dolce suono Gli superbi mortali, et par si bella, E un eco, un sogno, anzi d'un sogno un'ombra, Ch'ad ogni vento si dilegua a sgombra."
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