reduced his debt to Hieronymo Morlini, the chief recommendation of whose generally indecent and always ungrammatical Latin stories (Naples, 1520) is their exceeding rarity. Nearly a hundred years afterwards Straparola was completely eclipsed both as concerned the quantity and the quality of his folk-lore fictions, by the Pentamerone of Giovanni Basile, Count of Morone, a collection whose relation to the popular mythology of other nations has occasioned endless discussion. Puss in Boots, and Cinderella, and Rapunzel, and many another favourite owe to Basile their first appearance in literary costume. In narrative he is the breathless, loquacious, exuberant Neapolitan, too much in a hurry to trouble himself about style or art, but carrying all before him by his vigour and vehemence, and betraying, as his German translator has pointed out, strong traces of the influence of Rabelais.
It will be evident from the above brief sketch of the Italian novel that in the sixteenth century the art of novel-writing was nearly identical with the art of narrative. This was fully possessed by most writers of fiction; but characterisation, ingenuity of construction and development of plot, underplot, episode, artful suspension of interest, above all the application of the novelist's art to weighty purposes, were all in the most rudimentary condition. Compared with the modern novel, the ancient story is as a simple air upon a flute to the complicated harmony of an organ. It is true that the old romances abound with hints and germs only needing development, but development was slow in coming, and even when about the beginning of the eighteenth century romance and novelette had grown into the novel, it was still long before the novel became a vehicle of ideas and a potent
