GENERAL LIFE. Cecchi, La Donna e la famiglia Italiana del Secolo XIII. al sec. XVI., in Nuova Antologia (new series), vol. XI., fasc. 19-20. Frati, La Donna Italiana secondo i piÙ recenti studi (Torino, 1889). Varconi, La Donna Italiana descritta da Scrittrici Italiane in una serie di Conferenze (Firenze, 1890). Velluti, Cronica Domestica (Firenze, 1887). Dazzi, Alcune lettere familiari del sec. XIV. in CuriositÀ Letterarie, fasc. XC. (Bologna, 1868). Anon., Difesa delle Donne (Bologna, 1876). Biagi, La vita Italiana nel Rinascimento (Milano, 1897). Biagi, La vita privata dei Fiorentini (Milan, 1893). Del Lungo, La Donna Fiorentina del buon tempo antico (Firenze, 1906). Guasti, Lettere di una gentildonna Fiorentina del sec. XV. (Firenze, 1877). Liborio Azzolini, La Compiuta Donzella di Firenze (Palermo, 1902). Zdekauer, La vita privata dei Senese (Conf. d. Com. Sen. di St. Pat.), (Siena, 1897). Casanova, La Donna Senese del Quattrocento nella vita privata (Siena, 1895). Frati, La vita privata in Bologna (Bologna, 1900). Belgrano, La vita privata Genovese (Genoa, 1866). Braggio, La donna Genovese del sec. XV., in Giornale Linguistico, Ann. XII. (1885). Molmenti, St. di Venezia nella Vita Privata (Torino, 1885). Cecchetti, La donna nel Medio Evo a Venezia in Arch. Ven. Ann., XVI. (1886). THEIR BEAUTY AND ADORNMENT. In Florence, Siena, and Venice certainly there were regulations of the fashions; but not in Naples. Firenzuola, The two discourses, Delle bellezze delle donne and Della perfetta bellezza d'una donna, in ed. Bianchi, Le Opere (Firenze, 1848). Morpurgo, El costume de le donne con un capitolo de le XXXIII. bellezze (Firenze, 1889). Zanelli, in Bolletino di St. Pistoiese, vol. I., fasc. II., p. 50 et seq. Aretino, Il Mareschaio, atto ii., sc. 5, and I Ragionamenti. Cennino Cennini, Trattato della Pittura, cap. clxi. Warning against the general use of cosmetics. L.B. Alberti, Opere Volgari (Firenze, 1849) (Del Governo della Famiglia), vol. V., pp. 52, 75, 77. How a wife ought and ought not to adorn herself. Franco Sacchetti, Novelle, 99, 136, 137, 177. "Formerly the women wore their bodices cut so open that they were uncovered to beneath their armpits! Then with one jump, they wore their collars up to their ears! And these are all outrageous fashions. I, the writer, could recite as many more of the customs and fashions which have changed in my days as would fill a book as large as this whole volume," etc. etc., with a long description of the dress of the women of his time. Consult all the novelists. Dante, in Il Paradiso, XV. Gio. Villani, Cronaca, lib. X., caps. x., xi., and cl. Matt. Villani, Cronaca, lib. I., cap. iv. Boccaccio, De Casibus virorum illustrium, lib. I., cap. xviii. He gives a list of the arts of the toilet of women. Biagi, Due corredi nuziali fiorentini (1320-1493). (Per nozze Corazzini-Benzini, Firenze, 1899.) Carnesecchi, Donne e lusso a Firenze nel secolo XVI. (Firenze, 1903). Allegretto, in Muratori R.I.S., XXIII., col. 823. Diario Ferrarese, in Muratori R.I.S., XXIV., cols. 297, 320, 376 et seq., speaks of the German fashions—"Che pareno buffoni tali portatori." Gentile Sermini, Le Novelle (Livorno, 1874), Nov. XXI. Marchesini, Quello si convenga a una donna che abbia marito (Firenze, 1890, per nozze). And Dialogo della bella creanza delle donne (Milano, 1862), pp. 30, 31. ON WATERS FOR THE FACE, AND PERFUMES. Falletti Fossatti, Costumi Senesi (Siena, 1882), p. 133 et seq. Pelissier, Le Trousseau d'une Siennoise en 1450, in Boll. Senese, vol. VI., fasc. 1. Sansovino, Venetia cittÀ nobilissima e singolare (1663), fol. 150 et seq. Yriarte, La vie d'un Patricien de Venise au 16me siÈcle (Les femmes À Venise) (Paris, 1874), and see rare authorities there quoted. In Venice, the prescribed bridal dress seems to have been that of Titian's Flora—the hair fell free on the shoulders. The Proveditori alle Pompe were established in Venice in 1514. On the whole subject see, for earlier time, Heywood, The Ensamples of Fra Filippo (Siena, 1901), cap. iii.; and for later time, Burckhardt, op. cit., vol. II., part V., caps., ii., iv., v., vii.
*Cf. Madiai, Diario, in Arch. cit., vol. cit., p. 455.
"Messer Giorgio, Dear Friend,—Although I write but badly, yet will I say a few words in reply to yours. You know that Urbino is dead, for which I owe the greatest thanks to God; at the same time my loss is heavy and sorrow infinite. The grace is this, that while Urbino living kept me alive, in dying he has taught me to die not unwillingly but rather with a desire for death. I had him with me twenty-six years, and always found him faithful and true. Now that I had made him rich and thought to keep him on the staff and rest of my old age he has departed, and the only hope left me is that of seeing him again in Paradise, and of this God has given a sign in his most happy death. Even more than dying, it grieved him to leave me alive in this treacherous world, with so many troubles; the better part of me went with him, nothing is left to me but endless sorrow. I commend myself to you.... "Your Michael Angelo Buonarroti, in Rome. "The 23 day of February, 1556." See Le Lettere, No. CDLXXV., p. 539, in Brit. Museum, and Holroyd, Michael Angelo (Duckworth, 1903), p. 255. It was this Urbino's brother who was Raphael's well-known pupil, Il Fattore. Cf. also Holroyd, op. cit., pp. 273 and 314.
Dryden has missed the point of this passage.
"Teste David cum Sibylla."
To this doggerel there quickly appeared the rejoinder,— "Mars fuit, est Pallas, Cypria semper ero." Once Mars, Minerva now, but Venus still.
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