[54] Iliad, iv. 140.
[55] Canto xxiv. 66.
[56] Canto xviii. 153.
[57] Canto xli. 1.
[58] See Bandello's Introduction to Nov. xxxv. of Part i., where a most disgusting story is ushered in with ethical reflections; and take this passage from the opening of one of Il Lasca's least presentable novels: "Prima che al novellare di questa sera si dia principio, mi rivolgo a te, Dio ottimo e grandissimo, che solo tutto sai e tutto puoi, pregandoti divotamente e di cuore, che per la tua infinita bontà e clemenza mi conceda, e a tutti questi altri che dopo me diranno, tanto del tuo ajuto e della tua grazia, che la mia lingua e la loro non dica cosa niuna, se non a tua lode e a nostra consolazione."—Le Cene (Firenze, Lemonnier, 1857), p. 7.
[59] It may be mentioned that not all stories were recited before women. Bandello introduces one of his tales with the remark that in the absence of the ladies men may be less careful in their choice of themes (Nov. xxx. pt. i.). The exception is singular, as illustrating what was thought unfit for female ears. The Novella itself consists of a few jokes upon a disgusting subject; but it is less immodest than many which he dedicated to noble women.
[60] I Novellieri in Prosa, by Giambattista Passano (Milano, Schiepatti, 1864), will be found an excellent dictionary of reference.
[61] This motive may have been suggested by Folgore da S. Gemignano's sonnet on the month of January.
[62] These are the pair so nobly painted by Luini above the high-altar of S. Maurizio at Milan. See my [Sketches and Studies in Italy].
[63] What we know about manners at the Courts of our Elizabeth and James, and the gossip of the French Court in Brantome's Dames Galantes, remind us that this blending of grossness and luxury was not peculiar to Italy.