ghts.

[Footnote 48: Exquisite truth of painting! and a very elegant compliment
to the handsome nature of Buonaggiunta. Jacopo da Lentino, called the
Notary, and Fra Guittone of Arezzo, were celebrated verse-writers of
the day. The latter, in a sonnet given by Mr. Cary in the notes to his
translation, says he shall be delighted to hear the trumpet, at the last
day, dividing mankind into the happy and the tormented (sufferers under
_crudel martire_), _because_ an inscription will then be seen on his
forehead, shewing that he had been a slave to love! An odd way for a
poet to shew his feelings, and a friar his religion!]

[Footnote 49: Judges vii. 6.]

[Footnote 50: _Summae Deus clementiae_. The ancient beginning of a hymn in
the Roman Catholic church; now altered, say the commentators, to "Summae
parens clementiae."]

[Footnote 51: _Virum non cognosco_. "Then said Mary unto the angel, How
shall this be, seeing I know not a man?"--_Luke_ i. 34.

The placing of Mary's interview with the angel, and Ovid's story of
Calisto, upon apparently the same identical footing of authority, by
spirits in all the sincerity of agonised penitence, is very remarkable.
A dissertation, by some competent antiquary, on the curious question
suggested by these anomalies, would be a welcome novelty in the world of
letters.]

[Footnote 52: An allegory of the Active and Contemplative Life;--not, I
think, a happy one, though beautifully painted. It presents, apart
from its terminating comment no necessary intellectual suggestion; is
rendered, by the, comment itself, hardly consistent with Leah's express
love of ornament; and, if it were not for the last sentence, might be
taken for a picture of two different forms of Vanity.]

[Footnote 53:

"Tal, qual di ramo in ramo si raccoglie
Per la pineta in sul lito di Chiassi,
Quand' Eolo scirocco fuor discioglie."

Even as from branch to branch
Along the piny forests on the shore
Of Chiassi, rolls the gathering melody,
When Eolus hath from his cavern loosed
The dripping south."--_Cary_.

"This is the wood," says Mr. Cary, "where the scene of Boccaccio's
sublimest story (taken entirely from Elinaud, as I learn in the notes to
the Decameron, ediz. Giunti, 1573, p. 62) is laid. See Dec., G. 5, N.
8, and Dryden's Theodore and Honoria. Our poet perhaps wandered in
it during his abode with Guido Novello da Polenta."--_Translation of
Dante_, ut sup. p. 121.]

[Footnote 54: Lethe, _