[Footnote 8:  I have amplified and corrected this chronicle
     by the light of Professor Gnoli’s monograph, Vittoria
     Accoramboni, published by Le Monnier at Florence in 1870.]

     [Footnote 9:  In dealing with Webster’s tragedy, I have
     adhered to his use and spelling of names.]

[Footnote 10:  The fresco of the Coronation of the Virgin upon the semi-dome of S. Giovanni is the work of a copyist, Cesare Aretusi.  But part of the original fresco, which was removed in 1684, exists in a good state of preservation at the end of the long gallery of the library.]

     [Footnote 11:  See the chapter on Euripides in my Studies of
     Greek Poets, First Series, for a further development of
     this view of artistic evolution.]

[Footnote 12:  I find that this story is common in the country round Canossa.  It is mentioned by Professor A. Ferretti in his monograph entitled Canossa, Studi e Ricerche, Reggio, 1876, a work to which I am indebted, and which will repay careful study.]

     [Footnote 13:  Charles claimed under the will of Rene of
     Anjou, who in turn claimed under the will of Joan II.]

[Footnote 14:  For an estimate of Cosimo’s services to art and literature, his collection of libraries, his great buildings, his generosity to scholars, and his promotion of Greek studies, I may refer to my Renaissance in Italy:  ‘The Revival of Learning,’ chap. iv.]

     [Footnote 15:  Giottino had painted the Duke of Athens, in
     like manner, on the same walls.]

     [Footnote 16:  See Archivio Storico.]

     [Footnote 17:  The order of rhymes runs thus:  a, b, b, a, a,
     b, b, a, c, d, c, d, c, d; or in the terzets, c, d, e, c,
     d, e, or c, d, e, d, c, e, and so forth.]

[Footnote 18:  It has extraordinary interest for the student of our literary development, inasmuch as it is full of experiments in metres, which have never thriven on English soil.  Not to mention the attempt to write in asclepiads and other classical rhythms, we might point to Sidney’s terza rima, poems with sdrucciolo or treble rhymes.  This peculiar and painful form he borrowed from Ariosto and Sanazzaro; but even in Italian it cannot be handled without sacrifice of variety, without impeding the metrical movement and marring the sense.]

[Footnote 19:  The stately structure of the Prothalamion and Epithalamion is a rebuilding of the Italian Canzone.  His Eclogues, with their allegories, repeat the manner of Petrarch’s minor Latin poems.]

[Footnote 20:  Marlowe makes Gaveston talk of ’Italian masques.’  At the same time, in the prologue to Tamburlaine,