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Lanzi reckons fourteen schools of painting in Italy, each of which is distinguished by some peculiar characteristics, as follows: 1, the Florentine school; 2, the Sienese school; 3, the Roman school; 4, the Neapolitan school; 5, the Venetian school; 6, the Mantuan school; 7, the Modenese school; 8, the school of Parma; 9, the school of Cremona; 10, the school of Milan; 11, the school of Bologna; 12, the school of Ferrara; 13, the school of Genoa; 14, the school of Piedmont.
But the burly Roman forms went back to Flanders, and for many years staid citizens were slipped into classic attitudes to do duty as Disciples, Elders, Angels all with swelling biceps, knotted muscles, and necks like the Emperor Vespasian. The Mantuan Envoy at Rome had private orders from Chieppo to see that the Fleming was well treated.
The gentle Vergil, whom instructors call the Mantuan swan, perhaps because he was not born in that city, he considered one of the most terrible pedants ever produced by antiquity.
However, the real purpose of the poem lies in the second part where the poet expresses his sympathy for the luckless ones that are being driven from their homes; and that this represents a cry of the whole of Italy and not alone of his home town is evident from the fact that he sets the characters in typical shepherd country, not in Mantuan scenery as in the ninth.
Æsop resumed his narration. "You will ask how the Italianate Mantuan comes to be a cousin of our French Nevers, and I will tell you. Nevers's father, Louis de Nevers, the twelfth duke, had a very beautiful sister, who was foolish enough, or wise enough, as you may choose to take it, to fall in love with a needy Italian nobleman that came adventuring to Paris in the hope of making a rich marriage.
The collection of his poems, 'imprinted at London' in 1563, includes eight eclogues written in fourteeners, the majority of which may fairly be said to represent Mantuan adjusted to the conditions of contemporary life in reformation England. Others show the influence of the author's visit to Spain in 1561-3.
He revived on the modern stage the tragedies of the ancients, or rather created a new kind of pastoral tragedy, on which Tasso did not disdain to employ his genius. His "Orpheus," composed within ten days, was performed at the Mantuan court in 1483, and may be considered as the first dramatic composition in Italian.
He is the haughty Lombard soul, "in the movement of the eyes honest and slow," whom Dante, ascending the inexplicable heights of Purgatory, beheld; and who, summoning all himself, leaped to the heart of Virgil when he named Mantua: "O Mantuan! I am Sordello, of thine own land!"
He did not, however, neglect his Lombard language, but composed in it a treatise on the art of defending towns. The Mantuan historian, Volta, says that some of Sordello's Provençal poems exist in manuscript in the Vatican and Chigi libraries at Rome, in the Laurentian at Florence, and the Estense at Modena.
"O heaven!" cried Silvia. At that instant there was a noise of crackling branches. Valentine came crashing through the Mantuan forest to the rescue of his beloved. Julia feared he would slay Proteus, and hurried to help her false lover. But he struck no blow, he only said, "Proteus, I am sorry I must never trust you more."
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