poet in his lyrical than in his epic performances, if, at least, the sonnets and canzoni which pass under his name are really his. One, translated by Rossetti, has so much poetical merit as to have been frequently ascribed to Dante:
"I look at the crisp golden-threaded hair
Whereof, to thrall my hearty Love twists a net;
Using at times a string of pearls for bait,
And sometimes with a single rose therein.
I look into her eyes, which unaware,
Though mine own eyes to her heart penetrate;
Their splendour, that is excellently great,
To the sun's radiance seeming near akin,
Yet fro fn herself a sweeter light to win.
So that I, gazing on that lovely one,
Discourse in this wise with my secret thought:
'Woe's me! why am I not,
Even as my wish, alone with her alone,—
That hair of hers, so heavily uplaid,
To shed down braid by braid,
And make myself two mirrors of her eyes
Within whose light all other glory dies?' "
Another writer of mark, nearer than Fazio to Dante both in style and subject, is Frederico Frezzi, citizen and bishop of Foligno, who died at the Council of Constance in 1416. His Quatriregio, a moral poem describing the author's progress through the realms of Love, Pluto, the Vices and Virtue, so close an imitation of Dante as to border upon servility, is, notwithstanding, not a mean performance, Frezzi has considerable rhetorical, if not much poetical power, and many passages are really impressive. The diction also is good; but the book's chief repute at this day is among artists, on account of the remarkable designs adorning the edition of 1506, which
