for Measure. The story on which the former drama is founded is not a bad specimen of Cinthio's usual work. His subjects are frequently tragical, sometimes shocking, but the treatment is generally powerful, the narrative direct and forcible, and he is in great measure exempt from the grossness of his contemporaries. The tales, a hundred in number, whence their title of Ecatomithi, are supposed to be narrated on board a ship bound for Marseilles, and conveying a party of Romans escaping from the sack of the Eternal City. They are divided like Boccaccio's into ten classes, each considered to illustrate some particular point of morals or manners. They are highly respectable performances; but by so much as they surpass Grazzini's in matter they fall below them in style, which, though not incorrect, is devoid of colour and individuality.
Straparola, already briefly alluded to, was a native of Caravaggio, and published his Notti Piacevoli in 1554. He is a good story-teller, although a bad stylist; but what gives him an epoch-making rank among Italian novelists is not his merit or demerit in either capacity, but his having been the first to avail himself of popular folk-lore as a groundwork for fiction. Nothing is more annoying than the almost complete neglect of popular mythology by men of culture in antiquity. Apuleius tells one inimitable tale, without saying where he got it. Synesius spends his evenings listening to the stories of the Libyan peasants, and is not at the trouble to preserve a single one. It is nevertheless clear that such tales must have been as rife in ancient times as in our own. Straparola was perhaps the first man who systematically turned them to literary account: it would have been well if he had gone much further, and proportionately
