[Footnote 1: _Die Kultur der Renaissance in Italien._]
[Footnote 2: _Untersuchungen über die kampanische Wandmalerei._
Leipzig, 1873.]
[Footnote 3: Comp. Schnaase, _op. cit._]
[Footnote 4: _Argon_, ii. 219; iii. 260, 298. Comp. Cic. _ad Att._,
iv. 18, 3.]
[Footnote 5: _Renaissance und Humanismus in Italien und Deutschland._
Berlin, 1882. (Oncken, _Allgemeine Geschichte in Einzeldarstettungen_,
ii. 8.)]
[Footnote 6: _Itinerar. syr._, Burckhardt ii.]
[Footnote 7: _Loci specie percussus_, Burckhardt i.]
[Footnote 8: In his paper 'Kulturgeschichte und Naturwissenschaft'
(_Deutsche Rundschau_, vol. xiii.), which is full both of original
ideas and of exaggerated summary opinions, Du Bois Reymond fails to
do justice to this, and altogether misjudges Petrarch's feeling for
Nature. After giving this letter in proof of mediæval feeling, he
goes on to say: 'Full of shame and remorse, he descends the mountain
without another word. The poor fellow had given himself up to
innocent enjoyment for a moment, without thinking of the welfare of
his soul, and instead of gloomy introspection, had looked into the
enticing outer world. Western humanity was so morbid at that time,
that the consciousness of having done this was enough to cause
painful inner conflict to a man like Petrarch--a man of refined
feeling, and scientific, though not a deep thinker.' Even granting
this, which is too tragically put, the world was on the very eve of
freeing itself from this position, and Petrarch serves as a witness
to the change.]
[Footnote 9: Comp., too, _De Genealogia Deorum_, xv., in which he
says of trees, meadows, brooks, flocks and herds, cottages, etc.,
that these things 'animum mulcent,' their effect is 'mentem in se
colligere.']
[Footnote 10: Comp. Voigt, _Enea Silvio de' Piccolomini als Papst
Pius II. und sein Zeitalter_.]
[Footnote 11: Comp. Geiger and Ad. Wolff, _Die Klassiker aller Zeiten
und Nationen_.]
[Footnote 12: Quando mira la terra ornata e bella. Rime di V.
Colonna.]
[Footnote 13: Ombrosa selva che il mio duolo ascolti.]