He spoke of the English imitating the Italians in habit, manner and dress as closely as they could. They also seemed similar to him in appearance. The difference in speech struck him chiefly, since he could not understand a word of the language. He thought them Italians gone mad: "The tongue is curved upon the palate; they turn about their words in the mouth, and make a hissing sound with their teeth."

Among other Italian physicians at the English court was Pietro Maria Adelmare, the father of Sir Julius Cæsar, the famous judge. He was the medical adviser of both Mary and Elizabeth, from whom he received fees of a hundred pounds for a single attendance. Giulio Borgarucci also, who first attended the Earl of Leicester, and distinguished himself in his treatment of plague sufferers by bleeding, later became the court physician; Elizabeth, moreover, held her Venetian doctor, Cæsar Scacco, in such high regard that she even wrote the doge, requesting that his stay in England might not prove prejudicial to his personal affairs in Italy. Many other Italians at court enjoyed the protection of the Virgin Queen. "Doth she love Italians? Yes, sir, very well. Delighteth she to speak with them? Yes, sir, and she speaketh very eloquently," wrote Florio." Even on the list of her New Years' gifts among those to whom perfumed gloves or gilt plate were given ap1 Cal. St. Pap., Ven., VII, 551.

2 First Fruites, ch. 15.

peared such names as Bassano, Caliardi, Lupo and Ubaldini. Petruccio Ubaldini was an example of the better type of Italian adventurers then to be found at every European court. He had first come over to England in the reign of Henry the Eighth, and having obtained government employ, had served in the war with Scotland. Shortly after this he wrote, probably for the Venetian Signory, an account of English manners, customs and institutions. He found a patron in the Earl of Arundel, who presented him to the queen. The rest of his life he passed as one of the hangers-on at the court, engaged in teaching Italian, transcribing and illuminating manuscripts, rhyming and writing, or translating historical works. Twice he exchanged gifts with the queen, although never quite a courtier, nor yet a dependant. He was one of the many Italians who lived amid courtly surroundings, ready to turn hands and brains to any account. He tried to be historian, soldier, poet and artist, showing alike the many-sidedness and versatility of his nation and his century.

One of his books, a life of Charlemagne,3 was dedicated by Ubaldini to the gentlemen of England in appreciation of their courtesy toward foreigners. In its preface he bade Englishmen rejoice, since Italian

1 Add. Ms. Brit. Mus., 4827.

2 Add. Ms. Brit. Mus., 10,169. exist of this interesting manuscript.

Several other transcripts

La Vita di Carlo Magno, da Petruccio Ubaldini, Londra,

could be printed in England as well as in Italy. His own book he proclaimed had been the first so printed "by the diligence and effort of your citizen John Wolfe, and you will be able to have other such works from day to day, if you should give it that welcome, that I expect you will." Ubaldini's claim, however, was not strictly accurate. In 1545 already, a little work by John Clerk, on the resurrection of the dead,' had been printed in London, in Latin, English, French and Italian; and a few years later an Italian translation of a Latin catechism was published,2 while another curious work also appeared not long afterward.3 Ubaldini's history marked, however, a real beginning. Battista Castiglione, the queen's Italian master, in publishing a book by Accontio, which he dedicated to her, stated that he had made up his mind to print it, owing to the fact that a young Londoner (John Wolfe) had just returned from Italy where he had learned the art, and was now able to print in Italian. Several books soon appeared from his press. Among these were the Pastor Fido of Guarini and Tasso's Aminta, both published at Jacopo Castelvetri's expense, who said that, encouraged by friends, he was having them printed in London, on account of the great length of time necessary to obtain them from Italy. One edition

1 Opusculum Plane Divinum, London, 1545.

2 Catechismo per amaestrare i fanciulli, Londra (?), 1553(?). 8 Esposizione di Giovanbattista Agnello, Londra, 1566.

4 Una Esortazione al Timor di Dio, Londra, 1590 (?).

Il Pastor Fido; A spese di Jacopo Castelvetri, Londra, 1591.

of the Principe, although bearing the press-mark of Palermo was probably also printed in England, as were likewise a number of Giordano Bruno's works, which first saw light on British soil.1 Giordano Bruno was the greatest of all the Italians who came over to England in the sixteenth century; he was at the court of Elizabeth from 1583 to 1585, and came in contact with the best English minds of that age. Two of his dialogues were dedicated by him to Sir Philip Sidney, and in his Supper of Ashes he gave an account of a banquet at Fulke Greville's house, recording some very vivid impressions of the English people. His visit, however, left only doubtful traces on contemporary literature, and was barely noticed even by his English friends.

II

The genius of Italy in the Renaissance found its noblest expression in the fine arts. It was only natural, therefore, that some of the many Italian artists in an age of wandering should have found their way to England. It was really more remarkable that none of the first importance were attracted there. The arts, however, flourished in Italy, in the very midst of internal disturbances. Inducements to travel were not great, so long as reward awaited merit at home. Yet there were several Italians of note at the emperor's court, and Francis the First gathered round him such artists as Leonardo da Vinci, Benvenuto Cellini and Pri

1 Several bear other press-marks as well. Vide Athenæum, April 30, 1898.