[63] Op. cit. pp. 21-27. Two in particular, Era in pensier and Gli occhi di quella gentil forosetta, may be singled out. A pastourelle, In un boschetto, anticipates the manner of Sacchetti. As for the May song, its opening lines, Ben venga Maggio, etc., are referred by Carducci to Guido Cavalcanti.
[64] See Vita e Poesie di Messer Cino da Pistoja, Pisa, Capurro, 1813. Also Barbèra's diamond edition of Cino da Pistoja and other poets, edited by Carducci.
[65] The tomb of Cino in the Duomo at Pistoja, with its Gothic canopies and the bass-reliefs which represent a Doctor of Laws lecturing to men of all ranks and ages at their desks beneath his professorial chair, is a fine contemporary monument. The great jurist is here commemorated, not the master of Petrarch in the art of song.
[66] Cp. Dante De Vulg. Eloq. i. 17, upon Cino's purification of Italian from vulgarisms, with Lorenzo de' Medici, who calls Cino "tutto delicato e veramente amoroso, il quale primo, al mio parere, cominciò l'antico rozzore in tutto a schifare." Lettera all'illustr. Sig. Federigo, Poesie (ed. Barbèra, 1858), p. 33.
[67] Il Canzoniere (Fraticelli's edition), p. 199.
[68] Voi che portate; Donna pietosa; Deh peregrini.
[69] See Rossetti's translation of the Vita Nuova.
[70] Rossetti's translation of the Vita Nuova.
[71] Donna del cielo; O benigna, o dolce; O bon Gesù. See Rime di Fra Guittone d'Arezzo (Firenze, Morandi, 1828), vol. ii. pp. 212, 3; vol. i. p. 61.
[72] Not only the sixth Æneid, but the Dream of Scipio also, influenced the medieval imagination. The Biblical visions, whether allegorical like those of Ezekiel and Paul, or apocalyptic, like S. John's, exercised a similar control.