writers, and his canzone on his Lady in Bondage might appear to the English reader to possess considerable merit, but for the suspicion that the great poet who translated it infused more poetical inspiration than he found. It would gain considerably in significance if Rossetti could be proved right in conjecturing that the immured lady is a symbol of Frederick's empire in captivity to the Pope:
"'Each morn I hear his voice bid them
That watch me, to be faithful spies
Lest I go forth and see the skies;
Each night to each he saith the same;—
And in my soul and in mine eyes
There is a burning heat like flame.'
Thus grieves she now; but she shall wear
This love of mine whereof I spoke
About her body for a cloak.
And for a garland in her hair.
Even yet: because I mean to prove.
Not to speak only, this my love."
Of the few really Sicilian poets whose verses remain, the most remarkable is Cielo dal Carno, more commonly known from the misreading of an ill-written text as Ciullo d'Alcarno. The mention of Saladin has till recently caused his Dialogue between Lover and Lady to be ascribed to the close of the twelfth century, but more unequivocal indications prove that it cannot have been written before 1241. It is a piece of rare merit in its way, exempt from the insipid gallantry of the typical troubadour or minnesinger, and full of humour at once robust and sly at the expense of slippery suitors and complacent damsels. Nothing can be more delightfully
