ciency. From causes which will appear in the course of this history, many of the most gifted Italians wrote in Latin. From Petrarch down to Nicius Erythræus a succession of books which would have adorned the vernacular literature if they had belonged to it, appeared in the common idiom of scholars. Petrarch's Canzoniere, as respects mere dimension, is as nothing to the mass of his Latin works. Politian writes just enough Italian to prove that he might have revived Boccaccio or anticipated Ariosto. Pontano, one of the brightest intellects of Italy, writes entirely in Latin. To exclude the Latin books of such men entirely from consideration is impossible; but they cannot be adequately treated in a professed history of vernacular literature; and much else of deep significance must be passed over without a hint of its existence.
Another circumstance places the Italian mind at a disadvantage when contemplated solely through a literary medium. Literature in Italy is a less exhaustive manifestation than elsewhere of the intellect of the nation. The intellectual glory of England, France, and Germany depends mainly upon their authors and men of science; their illustrious artists, the succession of great German composers since Handel excepted, are for the most part isolated phenomena. In the ages of Italian development, whether of the imitative arts or of music, artists far outnumber authors, and the best energies of the country are employed in artistic production. Of this superabundant vitality mere literary history affords no trace. Michael Angelo, one of the greatest men the world has seen, can here claim no more than a paragraph on the strength of a handful of sonn ets. It is indeed remarkable that out of the nine Italians most brilliantly con-
