ce of his contribution to the Cenci story. The
quoted Italian proverb means something to the same effect: that every
trifle will press in for notice among worthier matters.]

[Footnote 85: That of the Gregorian chant: a cadence concluding on the
dominant instead of the key-note.]

[Footnote 86: We have a conspicuous instance of this in "Pippa Passes."]

[Footnote 87: This spontaneous mode of conception may seem incompatible
with the systematic adherence to a fixed class of subjects referred to
in an earlier chapter. But it by no means is so. With Mr. Browning the
spontaneous creative impulse conforms to the fixed rule.

The present remarks properly belong to that earlier chapter. But it was
difficult to divide them from their illustrations.]

[Footnote 88: First in "Hood's Magazine."]

[Footnote 89: I may venture to state that these picturesque materials
included a tower which Mr. Browning once saw in the Carrara Mountains, a
painting which caught his eye years later in Paris; and the figure of a
horse in the tapestry in his own drawing-room--welded together in the
remembrance of the line from "King Lear" which forms the heading of the
poem.]

[Footnote 90: Instances of it occur in the "Dramatic Idyls" and
"Jocoseria;" and will be noticed later.]

[Footnote 91: Generally confounded with his contemporary and
fellow-citizen, Girolamo del Pacchia.]

[Footnote 92: The (Baron) Kirkup mentioned at vol. xiv. page 5 was a
Florence friend of Mr. Browning's, and a connoisseur in literature and
art. He was ennobled by the King of Italy for his liberal views and for
his services to Italian literature. It was he who discovered the
portrait of Dante in the Bargello at Florence.]

[Footnote 93: Nets spread to catch quails as they fly to or from the
other side of the Mediterranean. They are slung by rings on to poles,
and stand sufficiently high for the quails to fly into them. This, and
every other detail of the poem, are given from personal observation.]

NON-CLASSIFIED POEMS (CONTINUED).

MISCELLANEOUS POEMS.

Even so imperfect, not to say arbitrary, a classification as I have been
able to attempt, excludes a number of Mr. Browning's minor poems; for
its necessary condition was the presence of some distinctive mood of
thought or feeling by which the poem could be classed; and in many, even
of the most striking and most characteristic, this condition does not
exist. In one group, for instance, the prevailing mo