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Doni in 1547, and that its genuineness may be disputed. See Carl Hegel, op. cit. pp. 18–22.

[3] The most important of Fanfani's numerous essays on the Compagni controversy, together with minor notes by his supporters, are collected in the book quoted above, Note to p. 241. Fanfani exceeds all bounds of decency in the language he uses, and in his arrogant claims to be considered an unique judge of fourteenth-century style. These claims he bases in some measure upon the fact that he deceived the Della Crusca by a forgery of his own making, which was actually accepted for the Archivio Storico. See op. cit. p. 181.

[4] Die Chronik, etc., pp. 53–57.

[5] Die Chronik, etc., p. 39.

[6] See Hegel's op. cit. p. 6.

[7] See Del Lungo, op. cit. vol. ii. pp. 19–23, and fac-simile, to face p. 1. This MS. was bought by G. Libri from the Pucci family in 1840, and sold to Lord Ashburnham. Del Lungo identifies it with a MS. which Braccio Compagni in the seventeenth century spoke of as 'la copia più antica, appresso il Signor senatore Pandolfini.'

Thus stands the question of Dino Compagni's 'Chronicle.' The defenders of its authenticity, forced to admit Compagni's glaring inaccuracies, fall back upon arguments deduced from the internal spirit of the author, from the difficulties of fabricating a personal narrative instinct with the spirit of the fourteenth century, from the hypotheses of a copyist's errors or of a thorough-going literary process of rewriting at a later date, from the absence of any positive evidence of forgery, and from general considerations affecting the validity of destructive criticism. One thing has been clearly proved in the course of the controversy, that the book can have but little historical value when not corroborated. Still there is a wide gap between inaccuracy and willful fabrication. Until the best judges of Italian style are agreed that the 'Chronicle' could not have been written in the second decade of the fourteenth century, the arguments adduced from an examination of the facts recorded in it are not strong enough to demonstrate a forgery. There is the further question of cui bono? which in all problems of literary forgery must first receive some probable solution. What proof is there that the vanity or the cupidity of any parties was satisfied by its production? A book exists in a MS. of about 1450, acquires some notice in a MS. of 1514, but is not published to the world until 1726. Supposing it to have been a forgery, the labor of concocting it must have been enormous. With all its defects, the 'Chronicle' would still remain a masterpiece of historical research, imagination, sympathy with bygone modes of feeling, dramatic vigor, and antiquarian command of language. But who profited by that labor? Not the author of the forgery, since he was dead or buried more than two centuries before his fabrication became famous. Not the Compagni family; for there is no evidence to show that they had piqued themselves upon being the depositaries of their ancestors masterpiece, nor did they make any effort, at a period when the printing-press was very active, to give this jewel of their archives to the public. If it be objected that, on the hypothesis of genuineness, the MS. of the 'Chronicle' must have been divulged before the beginning of the sixteenth century, we can adduce two plausible answers. In the first place, Dino was the partisan of a conquered cause; and his family had nothing to gain by publishing an acrimonious political pamphlet during the triumph of his antagonists. In the second place, MSS. of even greater literary importance disappeared in the course of the fourteenth century, to be reproduced when their subjects again excited interest in the literary world. The history of Dante's treatise De Vulgari Eloquio is a case in point. With regard to style, no foreigner can pretend to be a competent judge. Reading the celebrated description of Florence at the opening of Dino's 'Chronicle,' I seem indeed, for my own part, to discern a post-Boccaccian artificiality of phrase. Still there is nothing to render it impossible that the 'Chronicle,' as we possess it, in the texts of 1450(?) and 1514, may be a rifacimento of an elder and simpler work. In that section of my history which deals with Italian literature of the fifteenth century, I shall have occasion to show that such remodeling of ancient texts to suit the fashion of the time was by no means unfrequent. The curious discrepancies between the Trattato della Famiglia as written by Alberti and as ascribed to Pandolfini can only be explained upon the hypothesis of such rifacimento. If the historical inaccuracies in which the 'Chronicle' abounds are adduced as convincing proof of its fabrication, it may be replied that the author of so masterly a romance would naturally have been anxious to preserve a strict accordance with documents of acknowledged validity. Consequently, these very blunders might not unreasonably be used to combat the hypothesis of deliberate forgery. It is remarkable, in this connection, that only one meager reference is made to Dante by the Chronicler, who, had he been a literary forger, would scarcely have omitted to enlarge upon this theme. Without, therefore, venturing to express a decided opinion on a question which still divides the most competent Italian judges, I see no reason to despair of the problem being ultimately solved in a way less unfavorable to Dino Compagni than Scheffer-Boichorst and Fanfani would approve of. Considered as the fifteenth century rifacimento of an elder document, the 'Chronicle' would lose its historical authority, but would still remain an interesting monument of Florentine literature, and would certainly not deserve the unqualified names of 'forgery' and 'fabrication' that have been unhesitatingly showered upon it.[1]

      [1] It is to be hoped that the completion of Del Lungo's work may put an end to the Compagni controversy, either by a solid vindication of the 'Chronicle,' or by so weak a defense as to render further partisanship impossible. So far as his book has hitherto appeared, it contains no signs of an ultimate triumph. The weightiest point contained in it is the discovery of the Ashburnham MS. If Del Lungo fails to prove his position, we shall be left to choose between Scheffer-Boichorst's absolute skepticism or the modified view adopted by me in the text.

The two chief Florentine historians of the fifteenth century are Lionardo Bruni of Arezzo, and Poggio Bracciolini, each of whom, in his capacity of Chancellor to the Republic, undertook to write the annals of the people of Florence from the earliest date to his own time. Lionardo Aretino wrote down to the year 1404, and Poggio Bracciolini to the year 1455. Their histories are composed in Latin, and savor much of the pedantic spirit of the age in which they were projected.[1] Both of them deserve the criticism of Machiavelli, that they filled their pages too exclusively with the wars and foreign affairs in which Florence was engaged, failing to perceive that the true object of the historian is to set forth the life of a commonwealth as a continuous whole, to draw the portrait of a state with due regard to its especial physiognomy.[2] To this critique we may add that both Lionardo and Poggio were led astray by the false taste of the earlier Renaissance. Their admiration for Livy and the pedantic proprieties of a labored Latinism made them pay more attention to rhetoric than to the substance of their work.[3] We meet with frigid imitations and bombastic generalities, where concise details and graphic touches would have been acceptable. In short, these works are rather studies of style in an age when the greatest stylists were but bunglers and beginners, than valuable histories. The Italians of the fifteenth century, striving to rival Cicero and Livy, succeeded only in becoming lifeless shadows of the past. History dictated under the inspiration of pedantic scholarship, and with the object of reproducing an obsolete style, by men of letters who had played no prominent part in the Commonwealth,[4] cannot pretend to the vigor and the freshness that we admire so much in the writings of men like the Villani, Gino Capponi, Giovanni Cavalcanti, and many others. Yet even after making these deductions, it may be asserted with truth that no city of Italy at this period of the Renaissance, except Florence,

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