[Footnote 14: See canzone the first, "Non so s'io potrò," &c. and the copitolo beginning "Della mia negra penna in fregio d'oro.">[
[Footnote 15: Histoire Litteraire, &c. vol. iv. p. 335.]
[Footnote 16: "Singularis tua et pervetus erga nos familiamque nostrum observantia, egregiaque bonarum artium et litterarum doctrina, atque in studiis mitioribus, praesertimque poetices elegans et præclarum ingenium, jure prope suo a nobis exposcere videntur, ut quae tibi usui futurae sint, justa praesertim et honesta petenti, ea tibi liberaliter et gratiose concedamus. Quamobrem," &c. . "On the same page," says Panizzi, "are mentioned the privileges granted by the king of France, by the republic of Venice, and other potentates;" so that authors, in those days, appear to have been thought worthy of profiting by their labours, wherever they contributed to the enjoyment of mankind.
Leo's privilege is the one that so long underwent the singular obloquy of being a bull of excommunication against all who objected to the poem! a misconception on the part of some ignorant man, or misrepresentation by some malignant one, which affords a remarkable warning against taking things on trust from one writer after another. Even Bayle (see the article "Leo X." in his Dictionary) suffered his inclinations to blind his vigilance.]
[Footnote 17:
"Apollo, tua mercè, tua mercè, santo
Collegio delle Muse, io non mi trovo
Tanto per voi, ch'io possa farmi un manto
E se 'l signor m'ha dato onde far novo
Ogni anno mi potrei piu d'un mantello,
Che mi abbia per voi dato, non approve.
Egli l' ha detto."
Satira ii.]
[Footnote 18:
"Se avermi dato onde ogni quattro mesi
Ho venticinque scudi, nè sì fermi,
Che molte volte non mi sien contesi,