The identity of the bicephalic servant holding the water utensils in the Judgment of Pilate (Fig. i) on Donatello's Gospel ambo in San Lorenzo has been a puzzling problem. Early writers did not identify the figure. Recently, H. W. Janson and Irving Lavin postulated that the strange bearer in this unique composition was merely an attribute of Pilate's, created to explicate the governor's character. Janson believes that the double face derives from Janus, or ‘rather, the personification of January’ carrying a jug, as portrayed in Romanesque calendar art. According to this theory, Donatello discarded or did not understand the meaning attached to a bicephalic January, and used the figure to show Pilate ‘torn between the pleas of his wife and the demands of expediency.' Lavin, who is in general agreement with this theory, carefully studied the literature on Pontius Pilate to support it. He divided the literary tradition into three parts—that which was favorable to the governor, against him, or merely neutral. Lavin concluded that Donatello's relief reflects an unfavorable view of Pilate, whom he sees as a man of ‘two minds,’ someone ‘akin to our idea of a hypocrite.'

In 1539 Sébastien Gryphius, noted humanist printer of Lyon, published a French translation of Sermon Fourteen of Gregory Nazianzen, περί ϕιƛοπτωχίαs or De amore pauperum. It was entitled De la cure, et nourrissement des Pauvres, Sermon du Benoist sainct Gregoire Nazanzene, surnommé par excellence Theologien and it was the first of Gregory's works to be printed in French. Though the edition is included in Baudrier's Bibliographie lyonnaise, it has so far escaped the notice of specialists working on Gregory Nazianzen. What is important about the edition, however, is not that it is a bibhographical ‘first,’ but that it reveals some new dimensions of humanist interest in the early Fathers of the Church.

Of the three known copies of La cure et nourrissement des Pauvres, one is in the Bibliothèque publique et universitaire de Genève, where it is bound with another work printed by Gryphius in 1539, La Police de l’aulmosne de Lyon; a second belonged to Baudrier and was also bound with La Police de Vaulmosne; and the third is at the Archives de la Charité et de l'Hôtel-Dieu de Lyon.

One of the works said to have been in Milton's mind when he wrote Paradise Regained is Book n of The Faerie Queene. According to Edwin Greenlaw, ‘the three days of temptation of Guyon concludes a series of incidents that pretty certainly influenced Paradise Regained— Mammon's proffer of riches, worldly power, fame; the three days without sleep or food, followed by exhaustion; the angel sent to care for Guyon after the trial is over; even the debates between Mammon and Guyon, which parallel Christ's rebukes of Satan.’ These likenesses seem real enough, and the evidence has support from the wellknown passage on Guyon in Areopagitica. Still I should like to suggest here—and I have not seen the idea mentioned elsewhere—that Milton's poem was also influenced, and more strongly perhaps, by the first book of The Faerie Queene, Spenser's Legend of Holiness.

A good place to begin the argument is with the fact that Books i and n of The Faerie Queene themselves have many similarities of structure and episode—a fact which so admiring a reader of Spenser as John Milton would surely have noticed.