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No such lovely descriptions of scenery may be found perhaps in any Florentine writer before Lorenzo Magnifico, unless indeed it be in the verse of Sacchetti.
To this are added, and more by Ariosto than by Boiardo, two essentially Italian elements: something of the nobility of passion of the Platonic sonneteers; and a good dose of the ironical, scurrilous, moralizing immoral anecdote gossiping of Boccaccio and Sacchetti. Such is the stuff. The conception, though rarely comic, and sometimes bond fide serious, is never earnest.
He did not even think of ascertaining if the regimen he practised, in imitation of Lord Byron, against embonpoint, would preserve his elegant form, of which he was so proud, and yet mirrors were numerous on the way from the Place d'Espagne to the Palais Castagna, which rears its sombre mass on the margin of the Tiber, at the extremity of the Via Giulia, like a pendant of the Palais Sacchetti, the masterwork of Sangallo.
The most natural and pleasing pieces among much that is artificial and conventional are a ballad and two "catches" by Sacchetti, who died just after 1400, and properly does not belong to Dante's circle. Mr.
He did not even think of ascertaining if the regimen he practised, in imitation of Lord Byron, against embonpoint, would preserve his elegant form, of which he was so proud, and yet mirrors were numerous on the way from the Place d'Espagne to the Palais Castagna, which rears its sombre mass on the margin of the Tiber, at the extremity of the Via Giulia, like a pendant of the Palais Sacchetti, the masterwork of Sangallo.
He did not even think of ascertaining if the regimen he practised, in imitation of Lord Byron, against embonpoint, would preserve his elegant form, of which he was so proud, and yet mirrors were numerous on the way from the Place d'Espagne to the Palais Castagna, which rears its sombre mass on the margin of the Tiber, at the extremity of the Via Giulia, like a pendant of the Palais Sacchetti, the masterwork of Sangallo.
The true epic poets, Luigi Pulci, Boiardo, and Ariosto, are carried on more rapidly by the stream of their narrative; yet in all of them we must recognize the lightness and precision of their descriptive touch as one of the chief elements of their greatness. Franco Sacchetti amuses himself with repeating the short speeches of a troop of pretty women caught in the woods by a shower of rain.
In tracing the rise of the form in Italy upon the one hand, and in England upon the other, we are struck by certain curious contrasts and also by certain curious parallelisms. The closest analogy to the ballad themes to be discovered in the literature of Italy is in certain of the songs of Sacchetti and his contemporaries, but it would be unwise to insist on the resemblance.
The "Mornings in Florence" and "Giotto and his Works in Padua" so insist upon the artist's holiness and conscious purpose in all he did that his genial worldliness, shrewdness, and humour, as brought out by Dante, Vasari, Sacchetti, and Boccaccio, are utterly excluded. What we see is an intense saint where really was a very robust man.
Everything was earnest then. One should remember that most of the stories told by Boccaccio, Sacchetti and Bandello the stories from which Shakespeare got his Italian plays, his Romeo and Juliet, his Merchant of Venice were not inventions, but were founded on the truth.
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