It is well known that Sir Philip Sidney modeled eight of his thirty-two 'Certaine Sonnets’ upon existing ‘tunes,’ as he called them. To date, only one, relatively unimportant, musical model is known—the current Dutch National Anthem, to which Sidney wrote CS 23, ‘Who hath his fancy pleased.’ The result of this association of the sister arts is a simple, metrically precise, stylistically dull lyric whose numbers are directly proportioned to the regularity of its musical model. Of his other models, one, ‘The Smokes of Melancholy,’ appears to have been an English consort song; the others (five Italian, one Spanish) are probably variant forms of the villanella, a type of sixteenth-century art-song written for three or four voices and distinguished by its rhythmic lightness, its homophonic (chordal) structure, and its mildly satirical or openly vulgar text.

Domenico di Leonardo Buoninsegni's Istoria Fiorentina has served numerous historians of Renaissance Florence as a source for the political events which occurred in that city in the Trecento and Quattrocento. Being a narration of Florentine history from the Creation to the autumn of 1460 it has provided modern scholars with numerous details which, seemingly, offered fresh and original insights into the evolution of Florentine history, particularly for the later portion of the Istoria in which the events described coincided with the life of the author himself (b. 1384—d. 1465).

Unfortunately, since its first partial publication by Giorgio Marescotti in 1580 (reissued in 1581), Buoninsegni's Istoria has been subject to a series of misunderstandings and misinterpretations on one of which, ironically, has rested its reputation among scholars.

It is of course now obvious that the execution of More and Fisher did not bring about the collapse of the humanist movement in England during the middle third of the sixteenth century. Little attention, however, has been given to the fact that the loss of the two outstanding leaders of the older generation of humanists was followed by a decline of Catholic and the substantial growth of Protestant humanism. The primary aim of recent studies has been, rather, to establish the continuity of English humanism in the period that was not long ago widely believed to be its dark age. These recent works, to be sure, have persuasively traced its continuity in the analytical and realistic discussion of social and economic problems, the ideological bases of Henrician policy, and the interaction of Erasmian religious thought and the political Reformation.

On lit, dans A Literary History of England, un passage qui prétend traduire le latin d'Erasme: ‘Who does not admire in Grocyn the perfection of his training?’

F. M. Nichols traduisit ainsi: ‘In Grocin who does not marvel at such a perfect round of learning.'

Voici le texte original: ‘In Grocino quis ilium absolutum disciplinarum orbem non miretur?'

La traduction de l'ouvrage de Baugh est trop éloignée du texte latin, et ne permet pas de comprendre ce que Erasme a voulu dire: je crois, en effet, qu'Erasme voulait désigner ce que le mot Encyclopédie, signifie, pour Budé, ‘une perfection des arts liberaux et sciences politicques, qu'on appelle en Grec Encyclopediaqui veult autant a dire (pour le declarer briefvement) comme erudition circulaire.'