leur, the godiy men's

1. 1 35. leurs, the animais' ; hence, at first, a slight obscurity.

Page 43. 1. 175. En pensant à ma ville, a half-line expressing ail the urban patriotism of the Quattrocento.

1. 189. Tu 'verrais le saint dôme, i.e. the cathedra!, built in the eleventh century.

1. 196. La Mort a triomphé: an allusion to his first great fresco, the Triumph of Death.

Page 44. 1. 215. les deux pieds sur le dos des Romains. This line has a double force, as being morally true (at the time), and materially accurate, as we can see from the next line in which trône flottant felicitously suggests the chair with a dais (sedia).

Masaccio.

Page 45. Mazaccio, or rather Masaccio, the name in art of Tommaso Guidi da San Giovanni, was born near Florence in 1401 and diedwhen scarcely forty-two, most likely poisoned by jealous rivais. One of the reformers of painting, he excelled in the art of * scorcio ' — le raccourci. The monuments in the background of his pictures are marvels of perspective. Most of his Works are at Florence (Ghapel of the Carmélites) and in Rome (St. Clement's, Ghapel of St. Gatharine).

1. 14. Le venin du génie, a familiar thème with the French romantic poets. Gf. also Michel- Ange, 1. 5.

Michel-Ange.

Page 46. Although we hâve every reason to think, especially as to 1. 13, sous ta blanche crinière, that Barbier mistook another portrait for that of Michael Angelo, y et the poet's pénétration is, in not a fevv touches, at its very best.

1. I. Que ton visage est triste: utterly sad indeed is the face painted by Marcello Venusti, Museo del Gampidoglio, Rome.

1. 4. que tu nas jamais ri. Cf. Michael Angelo's /'o^w/, Ixxxi : —

<La mia allegrez' è la maninconia,'

and Poems, Ixxiv : —

* Mille placer non vaglion un tormento ! . . .'

quoted by Romain Rolland, Michel-Ange : Cahiers de la Quinzaine.