APPENDIX.
I have seen the pictures and statues and towns which I have described, and I have read the books of which I attempt to give an impression; but here my original research, if such it may be called, comes to an end. I have trusted only to myself for my impressions; but I have taken from others everything that may be called historical fact, as distinguished from the history of this or that form of thought or of art which I have tried to elaborate. My references are therefore only to standard historical works, and to such editions of poets and prose writers as have come into my hands. How much I am endebted to the genius of Michelet; nay, rather, how much I am, however unimportant, the thing made by him, every one will see and judge. With regard to positive information I must express my great obligations to the works of Jacob Burckhardt, of Prof. Villari, and of Mr. J.A. Symonds in everything that concerns the political history and social condition of the Renaissance. Mr. Symonds' name I have placed last, although this is by no means the order of importance in which the three writers appear in my mind, because vanity compels me to state that I have deprived myself of the pleasure and profit of reading his volumes on Italian literature, from a fear that finding myself doubtless forestalled by him in various appreciations, I might deprive my essays of what I feel to be their principal merit, namely, the spontaneity and wholeness of personal impression. With regard to philological lore, I may refer, among a number of other works, to M. Gaston Paris' work on the Cycle of Charlemagne, M. de la Villemarqué's companion volume on Keltic romances, and Professor Rajna's "Fonti dell' Ariosto." My knowledge of troubadours, trouvères, and minnesingers is obtained mainly from the great collections of Raynouard, Wackernagel, Mätzner, Bartsch, and Von der Hagen, and from Bartsch's and Simrock's editions and versions of Gottfried von Strassburg, Hartmann von Aue, and Wolfram von Eschenbach. "Flamenca" I have read in Professor Paul Meyer's beautiful edition, text and translation; "Aucassin et Nicolette," in an edition published, if I remember rightly, by Janet; and also in a very happy translation contained in Delvau's huge collection of "Romans de Chevalerie," which contains, unfortunately sometimes garbled, as many of the prose stories of the Carolingian and Amadis cycle as I, at all events, could endure to read. For the early Italian poets, excepting Carducci's "Cino da Pistoia," my references are the same as those in Rossetti's "Dante and his Cycle," especially the "Rime Antiche" and the "Poeti del Primo Secolo." Professor d'Ancona's pleasant volume has greatly helped me in the history of the transformation of the courtly poetry of the early Middle Ages into the folk poetry of Tuscany. I owe a good deal also, with regard to this same essay "The Outdoor Poetry," to Roskoff's famous "Geschichte des Teufels," and to Signor Novati's recently published "Carmina Medii Aevi." The Italian novellieri, Bandello, Cinthio, and their set, I have used in the Florentine editions of 1820 or 1825; Masuccio edited by De Sanctis. For the essay on the Italian Renaissance on the Elizabethan Stage, I have had recourse, chiefly, to the fifteenth century chronicles in the "Archivio Storico Italiano," and to Dyce's Webster, Hartley Coleridge's Massinger and Ford, Churton Collins' Cyril Tourneur, and J.O. Halliwell's Marston.
The essays on art have naturally profited by the now inevitable Crowe and Cavalcaselle; but in this part of my work, while I have relied very little on books, I have received more than the equivalent of the information to be obtained from any writers in the suggestions and explanations of my friend Mr. T. Nelson MacLean, who has made it possible for a mere creature of pens and ink to follow the differences of technique of the sculptors and medallists of the fifteenth century; a word of thanks also, for various such suggestions as can come only from a painter, to my old friend Mr. John S. Sargent, of Paris.
I must conclude these acknowledgments by thanking the Editors of the Contemporary, British Quarterly, and National Reviews, and of the Cornhill Magazine, for permission to republish such of the essays or fragments of essays as have already appeared in those periodicals.
THE END.