Cantos VIII–XI draw on the story of Sigismondo Pandolfo Malatesta , 15th-century poet, condottiere , lord of Rimini and patron of the arts. Quoting extensively from primary sources, including Malatesta's letters, Pound especially focuses on the building of the church of San Francesco, also known as the Tempio Malatestiano . Designed by Leon Battista Alberti and decorated by artists including Piero della Francesca and Agostino di Duccio , this was a landmark Renaissance building, being the first church to use the Roman triumphal arch as part of its structure. For Pound, who spent a good deal of time seeking patrons for himself, Joyce , Eliot and a string of little magazines and small presses , the role of the patron was a crucial cultural question, and Malatesta is the first in a line of ruler-patrons to appear in The Cantos .
Pound persuaded the bookseller Elkin Mathews to display A Lume Spento , and by October 1908 he was being discussed by the literati. In December he published a second collection, A Quinzaine for This Yule , and after the death of a lecturer at the Regent Street Polytechnic he managed to acquire a position lecturing in the evenings, from January to February 1909, on "The Development of Literature in Southern Europe".  He would spend his mornings in the British Museum Reading Room , then lunch at the Vienna Café on Oxford Street .  Ford Madox Ford wrote:
Kazin stresses the unmodernity of modernism and the basic contradiction in it: “It is funny now to think of how resolutely antimodern (in spirit) high modernism felt itself to be—while it expressed itself, as Pound did, in telescoped history and in formally disconnected images that were distinctly novel.” Must a poet be uncritical of his age? The corruptions of international venture capitalism, our banking system, rampant materialism, conglomerate greed, abject mass society, and all the rest, it is plain what modernism was resolutely antimodern about. But does Kazin believe that Pound and Eliot in all their radical criticism failed to recognize their remarkable new techniques as not only thoroughly commensurate with but emergent from their particular times? What else did Pound mean by Make It New?