Dunbar. 16. I do not find at what time the poems in the Scottish dialect by William Dunbar were published; but the Thistle and the Rose, on the marriage of James IV. with Margaret of England in 1503, must be presumed to have been written very little after that time. Dunbar, therefore, has the honour of leading the vanguard of British poetry in the sixteenth century. His allegorical poem, The Golden Targe, is of a more extended range, and displays more creative power. The versification of Dunbar is remarkably harmonious and exact for his age; and his descriptions are often very lively and picturesque. But it must be confessed that there is too much of sunrise and singing-birds in all our mediæval poetry; a note caught from the French and Provençal writers, and repeated to satiety by our own. The allegorical characters of Dunbar are derived from the same source. He belongs, as a poet, to the school of Chaucer and Lydgate.[543]
[543] Warton, iii. 90. Ellis (Specimens, i. 377) strangely calls Dunbar “the greatest poet that Scotland has produced.” Pinkerton places him above Chaucer and Lydgate. Chalmers’s Biogr. Dict.
Anatomy of Zerbi. 17. The first book upon anatomy, since that of Mundinus, was by Zerbi of Verona, who taught in the university of Padua in 1495. The title is, Liber Anatomiæ Corporis Humani et singulorum Membrorum illius, 1503. He follows in general the plan of Mundinus; and his language is obscure, as well as full of inconvenient abbreviations; yet the germ of discoveries that have crowned later anatomists with glory is sometimes perceptible in Zerbi; among others that of the Fallopian tubes.[544]
[544] Portal, Hist. de l’Anatomie. Biogr. Univ., art. Zerbi.
Voyages of Cadamosto. 18. We now, for the first time, take relations of voyages into our literary catalogue. During the fifteenth century, though the old travels of Marco Polo had been printed several times, and in different languages, and even those of Sir John Mandeville once; though the Cosmography of Ptolemy had appeared in not less than seven editions, and generally with maps, few, if any, original descriptions of the kingdoms of the world had gratified the curiosity of modern Europe. But the stupendous discoveries that signalised the last years of that age could not long remain untold. We may, however, give perhaps the first place to the voyages of Cadamosto, a Venetian, who, in 1455, under the protection of prince Henry of Portugal, explored the western coast of Africa, and bore a part in discovering its two great rivers, as well as the Cape de Verde islands. “The relation of his voyages,” says a late writer, “the earliest of modern travels, is truly a model, and would lose nothing by comparison with those of our best navigators. Its arrangement is admirable, its details are interesting, its descriptions clear and precise.”[545] These voyages of Cadamosto do not occupy more than thirty pages in the collection of Ramusio, where they are reprinted. They are said to have first appeared at Vicenza in 1507, with the title Prima Navigazione per l’Oceano alle Terre de’ Negri della Bassa Ethiopia di Luigi Cadamosto. It is asserted, however, by Brunet, that no edition exists earlier than 1519, and that this of 1507 is a confusion with the next book. This was a still more important production, announcing the great discoveries that Americo Vespucci was suffered to wrest, at least in name, from a more illustrious though ill-requited Italian: Mondo Nuovo, e Paeso nuovamente ritrovati da Alberico Vesputio Florentino intitolati. Vicenza, 1507. It does not appear that any earlier work on America had been published; but an epistle of Columbus himself, de Insulis Indiæ nuper inventis, was twice printed about 1493 in Germany, and probably in other countries; and a few other brief notices of the recent discovery are to be traced. We find also in 1508 an account of the Portuguese in the East, which, being announced as a translation from the native language into Latin, may be presumed to have appeared before.[546]
[545] Biogr. Univ., art. Cadamosto.
[546] See Brunet, art. Itinerarium, &c.
Sect. II. 1511-1520.
Age of Leo X.—Italian Dramatic Poetry—Classical Learning, especially Greek, in France, Germany, and England—Utopia of More—Erasmus—His Adages—Political Satire contained in them—Opposition of the Monks to Learning—Antipathy of Erasmus to them—Their attack on Reuchlin—Origin of Reformation—Luther—Ariosto—Character of the Orlando Furioso—Various Works of Amusement in modern Languages—English Poetry—Pomponatius—Raymond Lully.
Leo X., his patronage of letters. 19. Leo X. became pope in 1513. His chief distinction, no doubt, is owing to his encouragement of the arts, or, more strictly, to the completion of those splendid labours of Raffaelle, under his pontificate, which had been commenced by his predecessor. We have here only to do with literature; and in the promotion of this he certainly deserves a much higher name than any former pope, except Nicolas V., who, considering the difference of the times, and the greater solidity of his own character, as certainly stands far above him. Leo began by placing men of letters in the most honourable stations of his court. There were two, Bembo and Sadolet, who had by common confession reached a consummate elegance of style, in comparison of which the best productions of the last age seemed very imperfect. They were made apostolical secretaries. Beroaldo, second of the name, whose father, though a more fertile author, was inferior to him in taste, was intrusted with the Vatican library. John Lascaris and Marcus Musurus were invited to reside at Rome;[547] and the pope, considering it, he says, no small part of his pontifical duty to promote the Latin literature, caused search to be made everywhere for manuscripts. This expression sounds rather oddly in his mouth; and the less religious character of transalpine literature is visible in this as in everything else.