[206] See the original passages from contemporary writers quoted by Baini, vol. i. pp. 102-104. Savonarola went so far as to affirm: 'Che questo canto figurato l'ha trovato Satanasso,' a phrase quite in the style of a Puritan abusing choirs and organs.
[207] See Michelet, Histoire de France, vol. xi. pp. 76, 101, vol. xii. p. 383 (Paris: Lacroix, 1877).
[208] Baini, i. p. 196.
[209] It will be remembered that this Silvio Antoniano was one of the revisers of Tasso's poem, and the one who gave him most trouble.
[210] In the Dedication of the Mass of Pope Marcello to Philip II. in 1567 Palestrina only says that he had been constrained by the order of men of the highest gravity and most approved piety to apply himself ad sanctissimum Missae sacrificium novo modorum genere decorandum, and that he had performed his task with indefatigable pains and industry (Baini, op. cit. vol. i. p. 280). But it is noteworthy that of the three Masses furnished for the approval of the congregation, the first was entitled Illumina oculos meos, and that an anecdote referring to this title relates Palestrina's earnest prayers for grace and inspiration during the execution of the work (ibid. p. 223, note.)
[211] See Renaissance in Italy, vol. iv. pp. 263, 305.
[212] Studies of the Eighteenth Century in Italy, by Vernon Lee.
[213] The three founders of the school were thus born precisely during the most critical years of the Council. They felt the Catholic reaction least. That expressed itself most markedly in Domenichino, born seventeen years after its close.
[214] Nich. Poussin, b. 1594; Claude, 1600; Gaspar Poussin, 1613; Salvator Rosa, 1615; Luca Giordano, 1632; Canaletto, 1697.
[215] I of course except Venice, for reasons which I have sufficiently set forth in Renaissance in Italy, vol. iii. p. 347. Long after other schools of Italy the Venetian was still only adolescent.