out by Boccaccio alike in metrical epic and in prose narrative would have been followed up, and that history and allied branches of literature would have assumed a classic form.
Little of the kind occurred, and classical study itself ceased to produce a vivifying effect upon letters. This may have been partly owing to excessive admiration for the ancient writers, degenerating into pedantic imitation; partly from the great demand for Latin translations from the Greek, and Latin official correspondence, encouraging Latin composition at the expense of the vernacular; but cannot be wholly explained by any cause peculiar to Italy, for the same phenomenon manifested itself over Europe. Chaucer, who had carried the poetry of England so high, had no successors; and it would be difficult to point to a work of genius anywhere, except the Imitatio Christi, which might have been produced in any Christian age, and the Amadis of Gaul, the parent of the romances of chivalry, composed in Portugal or Spain about the beginning of the fifteenth century. How far this is to be ascribed to the Black Death, which, in sweeping away so much of the existing generation, blighted so much of the hope of the future; how far to calamities like the Great Schism and the Jacquerie; how far to causes unfathomable by the human intellect, will always be a question.
Certain it is that, while material civilisation continued to develop, and Leonardo Bruni, thinking only of the cultivation of Greek, is able to say, "Letters at this time grew mightily in Italy," creative genius received a check; and the standard of public virtue in most countries fell lower than it had ever been, or has been
