JOANNES IACET HIC MIRANDULA CETERA NORUNT
ET TAGUS ET GANGES FORSAN ET ANTIPODES.
OBITT AN. SAL. MCCCCLXXXXIV. VIXIT AN. XXXIII.
HIERONYMUS BENIVENIUS NE DISIUNCTUS
POST MORTEM LOCUS OSSA TENERET QUORUM IN
VITA ANIMOS CONJUNXIT AMOR HAC
HUMO SUPPOSITA PONENDUM CUR. OBIIT AN.
MDILII. VIXIT AN. LXXXIX.
[422] See the oldest edition of the Laudi di Feo Belcari, Florence 1485, printed three years after Lucrezia’s death, and Fr. Cionacci’s Rime sacre di Lorenzo de’ Medici unitamente a quelle di Madonna Lucrezia sua madre, Flor. 1680 and Bergamo 1760, as well as the Galletti collection before mentioned. Crescimbeni (Della volgar poesia, ii. 277) is inclined to place Lucrezia above most, if not all, poets of her time; but Crescimbeni is a weak critic. The Lauds begin: (I.) ‘Ecco ’l Messia’ (resembling the ‘Venite adoremus’ of the Church); (II.) ‘Venite pastori’; (III.) ‘Contempla le mie pene o peccatore;’ (IV.) ‘Ecco il Re forte;’ (V.) ‘Vien il messagio;’ (VI.) ‘Ben venga Osanna.’
TRANSCRIBER’S NOTES:
—Obvious print and punctuation errors were corrected.
—The transcriber of this project created the book cover image using the title page of the original book. The image is placed in the public domain.