[140]. The way in which Patrizzi is referred to after the lapse of a century by Baillet and Gibert (v. inf., p. 320) shows at once the sort of magni nominis umbra which still made itself felt, and the absence of any definite knowledge to give body to the shade. For his dealings with Rhetoric, see next Book, p. 329.
[141]. Discorsi Poetici, 1597.
[142]. Poesia Rappresentativa, 1598.
[143]. Della Imitatione Poetica, Venice, 1560; De Poetica Imitatione, ibid., 1565.
[144]. His De Arte Poetica seems to have first appeared at Antwerp in 1579: I know it in his Opera, Naples, 1606.
[145]. Annotationi di M. Alessandro Piccolomini nel Libro della Poetica d’Aristotele: Vinegia. The dedication to Cardinal Ferdinand dei Medici is dated Ap. 20, 1572, from Piccolomini’s native town of Sienna, where he became co-adjutor-archbishop. Some of Salviati’s MS. observations, printed by Mr Spingarn, seem to show that even Piccolomini’s contemporaries regarded him as a little too polymathic, while his Raffaella exhibits the less grave side of the Renaissance. But he was now getting an old man, and died six years later at the full three score and ten.
[146]. In Venetia, 1580. Why has Time, in the title-page woodcut of this, an hour-glass as head-dress, but a scourge instead of a scythe in his hand?
[147]. Milton had read Mazzoni, and cites him.
[148]. There is a large folding table of the causes and kinds of visions.
[149]. Op. cit., p. 124.