pieces, is the very beautiful canzone in which he attempts to console Dante for the death of Beatrice. Though I have found much fewer among Cino's poems than among Guido's which seem to call for translation, the collection of the former is a larger one. Cino produced legal writings also, of which the chief one that has survived is a Commentary on the Statutes of Pistoia, said to have great merit, and whose production in the short space of two years was accounted an extraordinary achievement.
Having now spoken of the chief poets of this division, it remains to notice the others of whom less is known.
Dante da Maiano (Dante being, as with Alighieri, the short of Durante, and Maiano in the neighbourhood of Fiesole) had attained some reputation as a poet before the career of his great namesake began; his Sicilian lady Nina (herself, it is said, a poetess, and not personally known to him) going by the then unequivocal title of "La Nina di Dante." This priority may also be inferred from the contemptuous answer sent by him to Dante Alighieri's dream sonnet in the Vita Nuova (see page 178). All the writers on early Italian poetry seem to agree in specially censuring this poet's rhymes as coarse and trivial in manner; nevertheless, they are sometimes distinguished by a careless force not to be despised, and even by snatches of real beauty. Of Dante da Maiano's life no record whatever has come down to us.
Most literary circles have their prodigal, or what in modern phrase might be called their "scamp"; and among our Danteans, this place is indisputably filled by Cecco Angiolieri, of Siena. Nearly all his sonnets (and no other pieces by him have been preserved) relate either to an unnatural hatred of his father, or to an infatuated love for the daughter of a shoemaker, a certain married Becchina. It would appear that Cecco was probably enamoured of her before her marriage as well as afterwards, and we may surmise that his rancour against his father may have been partly dependent, in the first
