ume on Keltic romances,
and Professor Rajna's "Fonti dell' Ariosto." My knowledge of
troubadours, trouveres, and minnesingers is obtained mainly from the
great collections of Raynouard, Wackernagel, Maetzner, Bartsch, and Von
der Hagen, and from Bartsch's and Simrock's editions and versions of
Gottfried von Strassburg, Hartmann von Aue, and Wolfram von Eschenbach.
"Flamenca" I have read in Professor Paul Meyer's beautiful edition, text
and translation; "Aucassin et Nicolette," in an edition published, if I
remember rightly, by Janet; and also in a very happy translation
contained in Delvau's huge collection of "Romans de Chevalerie," which
contains, unfortunately sometimes garbled, as many of the prose stories
of the Carolingian and Amadis cycle as I, at all events, could endure to
read. For the early Italian poets, excepting Carducci's "Cino da
Pistoia," my references are the same as those in Rossetti's "Dante and
his Cycle," especially the "Rime Antiche" and the "Poeti del Primo
Secolo." Professor d'Ancona's pleasant volume has greatly helped me in
the history of the transformation of the courtly poetry of the early
Middle Ages into the folk poetry of Tuscany. I owe a good deal also,
with regard to this same essay "The Outdoor Poetry," to Roskoff's famous
"Geschichte des Teufels," and to Signor Novati's recently published
"Carmina Medii _AEvi_." The Italian _novellieri,_ Bandello, Cinthio, and
their set, I have used in the Florentine editions of 1820 or 1825;
Masuccio edited by De Sanctis. For the essay on the Italian Renaissance
on the Elizabethan Stage, I have had recourse, chiefly, to the fifteenth
century chronicles in the "Archivio Storico Italiano," and to Dyce's
Webster, Hartley Coleridge's Massinger and Ford, Churton Collins' Cyril
Tourneur, and J.O. Halliwell's Marston.

The essays on art have naturally profited by the now inevitable Crowe
and Cavalcaselle; but in this part of my work, while I have relied very
little on books, I have received more than the equivalent of the
information to be obtained from any writers in the suggestions and
explanations of my friend Mr. T. Nelson MacLean, who has made it
possible for a mere creature of pens and ink to follow the differences
of _technique_ of the sculptors and medallists of the fifteenth century;
a word of thanks also, for various such suggestions as can come only
from a painter, to my old friend Mr. John S. Sargent, of Paris.

I must conclude these acknowledg