The great defects of Boiardo were his treating too seriously the narratives of chivalry, and his harsh style.
To this class belong the fairies of Boiardo, Ariosto and Spenser.
With Ariosto and Boiardo as models, Giraldi sets out to formulate the laws of the romanzi.
Boiardo's conception of friendship or fraternity in arms is finer.
It is to be regretted for Boiardo's credit as an artist in expression, that more than a bare reference to them is here impossible.
Was this due to the desire of burying Boiardo's fame beneath his own?
In dealing with his subject Boiardo is serious—as serious, that is to say, as a writer of romance can be.
I agree with him that Boiardo treated his subject playfully.
A noteworthy example occurs in Boiardo's Orlando Inamorato, cc.
Boiardo the poet was his minister, and Ariosto obtained his patronage.