The peace with Pisa, which was concluded during Compagni's tenure of the Gonfalonierate, is not mentioned, though this must have been one of the most important public events with which he was concerned.

Chronology is hopelessly and inextricably confused; while inaccuracies and difficulties of the kind described abound on every page of the 'Chronicle,' rendering the labor of its last commentator and defender one of no small difficulty.

The _third_ group of arguments assails the language of the 'Chronicle' and its MS.authority.Fanfani, who showed more zeal than courtesy in his destructive criticism, undertook to prove that Dino's style in general is not distinguished for the 'purity, simplicity, and propriety' of the trecento[3]; that it abounds in expressions of a later period, such as _armata_ for _oste_, _marciare_ for _andare_, _accio_ for _acciocche_, _onde_ for _affinche_; that numerous imitations of Dante can be traced in it; and that to an acute student of early Italian prose its palpable _quattrocentismo_ is only slightly veiled by a persistent affectation of fourteenth-century archaism.

This argument from style seems the strongest that can be brought against the genuineness of the 'Chronicle'; for while it is possible that Dino may have made innumerable blunders about the events in which he took a part, it is incredible that he should have anticipated the growth of Italian by at least a century.

Yet judges no less competent than Fanfani in this matter of style, and far more trustworthy as witnesses, Vincenzo Nannucci, Gino Capponi, Isidoro del Lungo, are of opinion that Dino's 'Chronicle' is a masterpiece of Italian fourteenth-century prose; and till Italian experts are agreed, foreign critics must suspend their judgment.