It cannot, nevertheless, be said that it at once judged them fairly, let alone with piety. In the arts a strong prejudice established itself against all that those centuries had created, and the humanists date the new era from the time of their own appearance. 'I begin,' says Boccaccio, 'to hope and believe that God has had mercy on the Italian name, since I see that His infinite goodness puts souls into the breasts of the Italians like those of the ancients souls which seek fame by other means than robbery and violence, but rather on the path of poetry, which makes men immortal.' But this narrow and unjust temper did not preclude investigation in the minds of the more gifted men, at a time, too, when elsewhere in Europe any such investigation would have been out of the question. A historical criticism of the Middle Ages was practicable, just because the rational treatment of all subjects by the humanists had trained the historical spirit. In the fifteenth century this spirit had so far penetrated the history even of the individual cities of Italy that the stupid fairy tales about the origin of Florence, Venice, and Milan vanished, while at the same time, and long after, the chronicles of the North were stuffed with this fantastic rubbish, destitute for the most part of all poetical value, and invented as late as the fourteenth century.
The close connection between local history and the sentiment of glory has already been touched on in reference to Florence. Venice would not be behindhand. Just as a great rhetorical triumph of the Florentines would cause a Venetian embassy to write home posthaste for an orator to be sent after them, so too the Venetians felt the need of a history which would bear comparison with those of Leonardo Aretino and Poggio. And it was to satisfy this feeling that, in the fifteenth century, the 'Decades' of Sabellico appeared, and in the sixteenth the 'Historia rerum Venetarum' of Pietro Bembo, both written at the express charge of the republic, the latter a continuation of the former.
