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In Robert Browning's series of poems titled Parleyings with certain people of importance in their day, the poet envisions an explanation by Furini that refutes the published assertion by Filippo Baldinucci that (on his deathbed) he had ordered all his nude paintings be destroyed. For Browning, Furini's disrobement of his subjects is emblematic of a courageous search for the hidden truth. Modern research has demonstrated that Furini did not abandon his sensual painting subjects on entering the priesthood. Furini was rediscovered in the early 20th century by .
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In 1878, he revisited Italy for the first time in the seventeen years since Elizabeth's death, and returned there on several further occasions. In 1887, Browning produced the major work of his later years, Parleyings with Certain People of Importance in Their Day. It finally presented the poet speaking in his own voice, engaging in a series of dialogues with long-forgotten figures of literary, artistic, and philosophic history. The Victorian public was baffled by this, and Browning returned to the brief, concise lyric for his last volume, Asolando (1889), published on the day of his death.
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" Later, when the text was recovered and reprinted in 1819, John Scott viewed the poem as proof that Christopher was both insane and a poet: the poem was had the benefit of "originality" and "beautiful and well selected imagery" but there were "symptoms of the author's state of mind, in a frequent vagueness of meaning, in an abruptness of transition, and sometimes in the near neighbourhood of the most incongruous ideas."London Magazine"' i (1820) p. 321-323 Although it took a century later before a positive twist was put on Christopher Smart's time in a mental asylum, Robert Browning later remarked in his Parleyings (1887) that A Song to David was great because Smart was mad, and that the poem allowed Smart to rank alongside of Milton and Keats.Jacobs p.
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