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e by Petrarch in his 'Trionfo della Fama；' and Boccaccio in the 'Amorosa Visione；' with hundreds of names； of which three…fourths at least belong to antiquity and the rest to the Middle Ages。 By and by this new and comparatively modern element was treated with greater emphasis； the historians began to insert descriptions of character； and collections arose of the biographies of distinguished contemporaries； like those of Filippo Villani； Vespasiano Fiorentino； Bartolommeo I Fazio； and lastly of Paolo Giovio。
The North of Europe； until Italian influence began to tell upon its writers for instance； on Trithemius； the first German who wrote the lives of famous men… …possessed only either legends of the saints； or descriptions of princes and churchmen partaking largely of the character of legends and showing no traces of the idea of fame； that is； of distinction won by a man's personal efforts。 Poetical glory was still confined to certain classes of society； and the names of northern artists are only known to us at this period in so far as they were members of certain guilds or corporations。
The poet…scholar in Italy had； as we have already said； the fullest consciousness that he was the giver of fame and immortality； or； if he chose； of oblivion。 Boccaccio complains of a fair one to whom he had done homage； and who remained hard…hearted in order that he might go on praising her and making her famous； and he gives her a hint that he will try the effect of a little blame。 Sannazaro； in two magnificent sonnets； threatens Alfonso of Naples with eternal obscurity on account of his cowardly flight before Charles VIII。 Angelo Poliziano seriously exhorts （1491） King John of Portugal to think betimes of his immortality in reference to the new discoveries in Africa； and to send him materials to Florence； there to be put into shape _（operosius excolenda）； _otherwise it would befall him as it had befallen all the others whose deeds； unsupported by the help of the learned； 'lie hidden in the vast heap of human frailty。' The king； or his humanistic chancellor； agreed to this； and promised that at least the Portuguese chronicles of African affairs should be translated into Italian； and sent to Florence to be done into Latin。 Whether the promise was kept is not known。 These pretensions are by no means so groundless as they may appear at first sight； for the form in which events； even the greatest； are told to the living and to posterity is anything but a matter of indifference。 The Italian humanists； with their mode of exposition and their Latin style； had long the complete control of the reading world of Europe； and till last century the Italian poets were more widely known and studied than those of any other nation。 The baptismal name of the Florentine Amerigo Vespucci was given； on account of his book of travels； to a new quarter of the globe； and if Paolo Giovio； with all his superficiality and graceful caprice； promised himself immortality； his expectation has not altogether been disappointed。
Amid all these preparations outwardly to win and secure fame； the curtain is now and then drawn aside； and we see with frightful evidence a boundless ambition and thirst after greatness； regardless of all means and consequences。 Thus； in the preface to Machiavelli's Florentine history； in which he blames his predecessors Leonardo； Aretino and Poggio for their too considerate reticence with regard to the political parties in the city： 'They erred greatly and showed that they understood little the ambition of men and the desire to perpetuate a name。 How many who could distinguish themselves by nothing praiseworthy； strove to do so by infamous deeds！ ' Those writers did not consider that actions which are great in themselves； as is the case with the actions of rulers and of States； always seem to bring more glory than blame； of whatever kind they are and whatever the result of them may be。 In more than one remarkable and dreadful undertaking the motive assigned by serious writers is the burning desire to achieve something great and memorable。 This motive is not a mere extreme case of ordinary vanity； but something demonic； involving a surrender of the will； the use of any means； however atrocious； and even an indifference to success itself。 In this sense； for example； Machiavelli conceives the character of Stefano Porcari； of the murderers of Galeazzo Maria Sforza （1476）； the documents tell us about the same； and the assassination of Duke Alessandro of Florence （1537） is ascribed by Varchi himself to the thirst for fame which tormented the murderer Lorenzino Medici。 Still more stress is laid on this motive by Paolo Giovio。 Lorenzino； according to him； pilloried by a pamphlet of Molza； broods over a deed whose novelty shall make his disgrace forgotten； and ends by murdering his kinsman and prince。 These are characteristic features of this age of overstrained and despairing passions and forces； and remind us of the burning of the temple of Diana at Ephesus in the time of Philip of Macedon
Ridicule and Wit
The corrective； not only of this modern desire for fame； but of all highly developed individuality； is found in ridicule； especially when expressed in the victorious form of wit。 We read in the Middle Ages how hostile armies； princes； and nobles； provoked one another with symbolical insult； and how the defeated party was loaded with symbolical outrage。 Here and there； too； under the influence of classical literature； wit began to be used as a weapon in theological disputes； and the poetry of Provence produced a whole class of satirical compositions。 Even the Minnesanger； as their political poems show； could adopt this tone when necessary。 But wit could not be an independent element in life till its appropriate victim； the developed individual with personal pretensions； had appeared。 Its weapons were then by no means limited to the tongue and the pen； but included tricks and practical jokes the so…called 'burle' and 'beffe' which form a chief subject of many collections of novels。
The 'Hundred Old Novels；' which must have been composed about the end of the thirteenth century； have as yet neither wit； the fruit of contrast； nor the 'burla；' for their subject； their aim is merely to give simple and elegant expression to wise sayings and pretty stories or fables。 But if anything proves the great antiquity of the collection； it is precisely this absence of satire。 For with the fourteenth century comes Dante； who； in the utterance of scorn； leaves all other poets in the world far behind； and who； if only on account of his great picture of the deceivers； must be called the chief master of colossal comedy。 With Petrarch begin the collections of witty sayings after the pattern of Plutarch （Apophthegmata； etc。）。
What stores of wit were concentrated in Florence during this century is most characteristically shown in the novels of Franco Sacchetti。 These are； for the most part； not stories but answers； given under certain circumstances shocking pieces of _naivete；_with which silly folks； court jesters； rogues； and profligate women make their retort。 The comedy of the tale lies in the startling contrast of this real or assumed naivete with conventional morality and the ordinary relations of the worldthings are made to stand on their heads。 All means of picturesque representation are made use of； including the introduction of certain North Italian dialects。 Often the place of wit is taken by mere insolence； clumsy trickery； blasphemy； and obscenity； one or two jokes told of Condottieri are among the most brutal and malicious which are recorded。 Many of the 'burle' are thoroughly comic； but many are only real or supposed evidence of personal superiority； of triumph over another。 How much people were willing to put up with； how often the victim was satisfied with getting the laugh on his side by a retaliatory trick； cannot be said； there was much heartless and pointless malice mixed up with it all； and life in Florence was no doubt often made unpleasant enough from this cause。 The inventors and retailers of jokes soon became inevitable figures； and among them there must have been some who were classical far superior to all the mere court…jesters； to whom competition； a changing public； and the quick apprehension of the audience； all advantages of life in Florence； were wanting。 Some Florentine wits went starring among the despotic courts of Lombardy and Romagna； and found themselves much better rewarded than at home； where their talent was cheap and plentiful。 The better type of these people is the amusing man （l'uomo piacevole）； the worse is the buffoon and the vulgar parasite who presents himself at weddings and banquets with the argument； 'If I am not invited； the fault is not mine。' Now and then the latter combine to pluck a young spendthrift； but in general they are treated and despised as parasites； while wits of higher position bear themselves like princes； and consider their talent as something sovereign。 Dolcibene； whom Charles IV had pronounced to be the 'king of Italian jesters；' said to him at Ferrara： 'You will conquer th