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he known what was pointed out by Barotti, ❘ notes; and Pezzana, the continuator of Affò,

and has since been confirmed by the Abate Antonelli, that Angeli wrote Discourses on Ariosto. Angeli was himself a poet; and some of his sonnets are preserved in Baruffaldi's collection, the "Rime scelte de' Poeti Ferraresi." His last and greatest work was 11. "Historia della Città di Parma e la Descrittione del Fiume Parma," Parma, 1591, 4to.; a history of Parma, both the city and the river, in eight books, containing numerous dissertations on matters relating to the general history of Italy. Affò, indeed, in the preface to his own "Storia di Parma," complains that in the expansiveness of Angeli's views, the little city, which was to form his main subject, is often lost sight of; and adds that, when the author was writing, too little was known of the general history of Italy, and too little access was granted to the archives of Parma to render it possible to produce a satisfactory work on either subject. Angeli's history, however, is a work of labour and talent: it is rendered easy to consult by a copious index of a hundred and sixty closely printed pages in double columns. Few books have ever given so much trouble to bibliographers. In the common copies, which are said to be rare, though there are three in the British Museum, several leaves occur printed in a different type from the rest, which were evidently substituted for others that had been cancelled. Towards the end of the last century the Abate Andrea Mazza obtained possession of two copies containing the whole of the cancelled leaves, by a fortunate combination of accidents, of which he gives a ludicrously enthusiastic narrative in an amusing letter to Tiraboschi, printed at length in the fourth volume of Affo's "Scrittori Parmigiani." Out of these two copies, Mazza made up a unique copy of the original edition, which he presented to the ducal library at Parma, where it is still preserved, having been recovered by Pezzana, in 1814, from the royal library at Paris, to which it had been carried off as a special curiosity. The principal information obtained by the comparison of the old and new editions was, that the alterations which had occasioned the cancelling were all of slight importance, and could not, as had been reported, have been commanded by the court of Rome. The title of the old copy, which had the date of 1590, commenced with the words. "Della Descrittione del Fiume della Parma," which cleared up a difficulty that had perplexed some biographers of Angeli, who had made two works out of the one, and chronicled a description of the river published in 1590, and a description of the city in the following year. Mazza, in his letter, gave a collation of the two editions made with great minuteness, but with such inaccuracy that he was frequently corrected by Affò, in his

found the remarks of both so full of mistakes, that in the seventh volume of the Scrittori Parmigiani, he gives an entirely new collation, in the first impression of which it is curious to observe that he found he had himself said something which induced him to cancel the sheet. We must refer to Pezzana for an account of the mistakes fallen into by the French bibliographers with respect to the work of Angeli, which are unfortunately repeated in the new edition now publishing of Brunet. (Barotti, Memorie Istoriche di Letterati Ferraresi, ii. 187-194.; Affò, Storia di Parma, i. pref. ix. &c.; Affò, Memorie degli Scrittori e Letterati Parmigiani, iv. 209-240.; Continuazione by Pezzana, vi. 589-594.; Alberti, Historia di Parma; Brunet, Manuel du Libraire, edit. of 1842, i. Angeli.")

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T. W.

A'NGELI, DOMENICO, a native of Castro in the Papal state, wrote a short tract called "De Deprædatione Castrensium et suæ Patriæ Historia," which was printed by Grævius in his "Thesaurus Antiquitatum Italiæ," vol. viii. part iii. He there relates, with details curiously illustrative of Italian manners in the sixteenth century, the story of a feud which took place in Castro, ending in the plunder of the town by one of the factions in the end of the year 1526. As to the author's life, nothing is known except a few trifling particulars gathered from his preface, which is dated in 1575. (Mazzuchelli, Scrittori d'Italia; Grævius, Thesaurus Antiquitatum Italiæ, tom. viii. part i. præfat. p. 10.) W. S.

A'NGELI, FRANCESCO MARIA, a minor friar of Assisi in the Papal state, wrote, about the end of the seventeenth century, a history of the interesting convent to which he belonged. The work was published after his death, "Istoria del Sacro Convento d' Assisi, sua Fondazione, Privilegj, Sepoltura ivi del Padre Serafico San Francesco," &c., Montefiascone, 1704, fol. (Mazzuchelli, Scrittori d'Italia.)

W. S.

A'NGELI, GIAMBATTISTA, MARCO and GIULIO D'. [MORO, BATTISTA DEL.] A'NGELI, R. MEIR BEN ABRAHAM. [ANGEL, R. MEIR BEN ABRAHAM.]

A'NGELI, STEFANO DE, was of the order of Jesuits, and a pupil of the celebrated Cavalieri, whose method he cultivated and extended. Some of his works were read by Montucla, who (vol. ii. p. 91.) bears testimony to their excellence. He also was en gaged in a controversy with Riccioli on the subject of the motion of the earth, and (vol. ii. p. 298.) successfully answered the argument which the latter proposed as conclusive against the Copernicans. After the suppression of his order in 1668, he taught mathematics at Padua, in which city he was living at the end of the century. His works, which were published at Venice in quarto, are - 1. "Problemata Geometrica," 1658, on the cone and sphere. 2. "Miscellaneum Hyperbolicum et Parabolicum," 1659. 3. "Miscellaneum Geometricum," 1660; the last two are mostly centrobarycal. 4. "De infinitorum Spiralium Spatiorum Mensurâ," 1660. 5. "De infinitarum Cochlearum Mensuris," 1661. 6. "De infinitis Parabolis, de infinitisque Solidis, &c.," 1659; also, "Eorundem Liber Quintus," 1663. 7. "De Superficie Ungulæ, et de Quartis Liliorum Parabolicorum et Cycloidalium," 1661. 8. "Accessiones ad Stereometriam et Mechanicam, pars prima," 1662. 9. "Considerationi sopra la Forza di alcune Regioni Fisico-mattematiche addotte da G. B. Ricciolo contra il Sistema Copernicano," 1662; besides which, published at Padua, 10. "De infinitis Spiralibus inversis, &c.," 1659. (Montucla, Hist. de Mathem. ; Beughem, Bibliographia Mathematica; Royal Society's Catalogue.)

A. De M.

ANGELICO. [FIESOLE, FRA GIOVANNI

DA.]

ANGELICO, MICHELANGELO, was a native of Vicenza, and lived at the end of the sixteenth and beginning of the seventeenth centuries. He practised pharmacy with great success in the district of the Vitture, and is said to have brought the art of antidotes to such perfection, that the Collegio de' Medici honoured him with a special diploma, and some of the best poets of the time published in his praise a work entitled "Elogia in Theriacam et Mitridaticam Antidotum a Michaele Angelo Angelico Pharmacopœo Vicentino ad Divi Michaelis Symbolum pristino Candori restitutam," Vicenza, 1618, 4to. He employed his leisure in the cultivation of poetry, and became a member of the Olympic academy. The time of his death is not known. His works are - 1. L' Antidotario di Claudio Galeno," Vicenza, 1608, 8vo. reprinted in 1613, in 4to. 2. "Cento Madrigali," Vicenza, 1604. "L' Amor gradito, Idillio," Vicenza, 1613, 12mo. 4. "Il Tuogno Figaro." He also wrote some poetical pieces in the ancient Tuscan and in the Venetian dialects. Some of his verses are printed in the "Gareggiamento Poetico of Petrelli." (Mazzuchelli, Scrittori d' Italia; Angiolgabriello di Santa Maria, Biblioteca di Scrittori di Vicenza, vi. 117-119.)

3.

J. W. J.

ANGELICO, MICHELANGELO, was a nephew of the preceding, and lived in the middle of the seventeenth century. He was a native of Vicenza. He was a jurist by profession, but devoted much of his time to polite literature and poetry. As his literary reputation extended, he became associated with the academy of the "Olimpici " of Vicenza, and with that of the "Ricovrati " of Padua, and assumed the academical name of "Avvalorato." His inclination for poetry increasing with his success, he determined

to abandon his profession, and accepted an invitation to Vienna to enter the service of the Emperor Leopold I. as poeta cesareo, or imperial poet. He arrived at Vienna in the month of May, 1690, where he was well received by the emperor, who was much pleased with some poetical compositions by Angelico in honour of his birth-day. The emperor's partiality for him increasing, he caused him to be ordained a priest, appointed him to be his chaplain, and was present with all his court when he performed his first mass. He remained at Vienna until his death, which occurred about the year 1697. He published -1. Epitalamio nella Nozze de' Monarchi Leopoldo Cesare Augusto e Margherita di Spagna." an epithalamium. 2. "Poesie Liriche," Venice, 1665, 12mo. 3. "Discorsi Accademici," which are at the end of his lyrics. 4. "L' Innocenza illesa dal Tradimento," &c., Vienna, 1694, 4to. 5. "Assemblea de' Cigni per celebrare i Sudori Apostolici del P. D. Girolamo Ventimiglia, C. R. Teatino," &c., Vienna, 1691, 4to. 6. Verses inserted in "Le Lagrime di Parnaso," and some other collections. (Angiolgabriello di Santa Maria, Biblioteca di Scrittori di Vicenza, vi. 119.) J. W. J.

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ANGELIERI, BONAVENTURA, also known under the Latinised form of his name, Angilerius, a Franciscan monk, was born at Marsalla, in Sicily. He was vicar-general of his order at Madrid, and subsequently became one of the fathers of the "Osservanza." Mongitore mentions him as living in the year 1707. He wrote on magic and kindred subjects: - "Lux magica, physica, &c. cælestium, terrestrium et inferorum Origo, Ordo, et Subordinatio cunctorum, quoad esse, fieri, et operari, viginti quatuor Voluminibus divisa, &c. Pars prima," Venice, 1686, 4to. This part was published under the assumed name of Livio Betani. The second part under the title "Lux Magica Academica," was published at Venice, 1687, 4to. He is said to have prepared the whole twenty-four volumes, but only these two parts have been published. (Mongitore, Bibliotheca Sicula ; Mazzuchelli, Scrittori d' Italia.) J. W. J.

ANGELI'NI, SCIPIONE, a clever Italian flower painter, who executed a remarkable number of pictures, which he sold to dealers at low prices, who exported them from Leghorn to France, England, and Holland. Pascoli terms him a native of Perugia, but according to the Ascoli guide, he was born in that place in 1661: he died in 1729.

Dr. Nagler mentions a GIUSEPPE ANGELINI, a sculptor of Perugia, who lived in Rome in the latter part of the eighteenth century. He made statues and busts, among the latter, one of the celebrated Piranesi. He restored also many ancient statues. (Pascoli, Vite de' Pittori, &c.; Lanzi, Storia Pittorica, &c.; Nagler, Neues Allgemeines Künstler Lexicon.)

R. N. W.

ANGELIO, or DEGLI A'NGELI, | along the shore, sometimes travelling on foot

ANTONIO, a brother of Pietro, was born at Barga, near Lucca, in Tuscany. Having taken orders, Antonio became successively a parish priest at Mugello, tutor to Francis and Ferdinand de' Medici (afterwards granddukes), and, in 1570, bishop of Massa and Populonia. He died in 1579. Three epistles of his, in Latin hexameters, are in the edition of his brother's poems published in 1585: and they have also been inserted in Gruter's "Deliciæ Italorum Poetarum," part i. 1608, p. 160 -174.; and in the "Carmina Illustrium Poetarum Italorum." Florence, 1719, i. 238-251. (Mazzuchelli, Scrittori d' Italia; Ughelli, Italia Sacra, in "Episcopis Populonii et Massæ.")

W. S.

ANGELIO, or DEGLI ANGELI, PIETRO, better known by his Latinised name of Petrus Angelius Bargæus, held, in the sixteenth century, a prominent place among the Italian men of letters. He is called Bargæus, or Da Barga, from the title of a manor or castle in the district of Lucca, where he was born, of an ancient but impoverished family, in the year 1517. The earlier part of his history presents a series of adventures which few literary men are doomed to encounter, and which appear to have given to his character a peculiar tone of restless activity. After having exhibited great precocity in early boyhood, he was sent, in his sixteenth year, to study law at Bologna; but, allured by the teaching of Amaseo, he devoted his whole attention to literature, in defiance of threats and remonstrances from his family, who at length cast him off as an irreclaimable idler. Upon this the resolute student supported himself for some time by selling his law-books. At length, beginning to become known both for his Latin erudition and for the readiness with which he composed verses in that language, he obtained the patronage of the distinguished Bolognese family of Pepoli, one of whose members enabled him to pursue his studies and to pay a short visit to Rome. In no long time, however, the fear of discovery in an intrigue compelled him to flee from Bologna; and, finding shelter at Venice under the protection of Pellicier, the wellknown French ambassador, he was by him employed for three years in copying Greek manuscripts for the Royal Library at Paris. He next visited Constantinople in the train of an envoy from France to that city. At the siege of Nice Maritime, in 1543, he seems to have borne arms in the French service. Here, however, on board of a galley, a quarrel took place between him and a Frenchman, who, irritated by the failure of an attack on the place, had imputed the blame to the Italians, and charged the whole nation with treachery. The parties came to blows; and Bargæus struck his adversary dead upon the spot. Escaping from custody by the connivance of the master of the vessel, he fled southwards

under cloud of night, and sometimes seeking refuge in coasting-barks. After a perilous journey he found his way to Genoa; and thence, abandoning hopes of French patronage, he betook himself to Mondovi, to seek the famous Davalo, marquis Del Vasto. This personage not only gave the fugitive scholar a pension, but recommended him to Cosmo de' Medici, duke of Florence, from whom, however, in the mean time, Bargæus received no countenance. Thrown again upon his own resources by the death of Davalo, and finding his brothers and uncles occupied at home in quarrelling over the ruins of their fortunes, he accepted an appointment as a public teacher of Greek in Reggio. While he held this place he paid his addresses to a lady belonging to the city, whose family favoured his suit, but insisted upon his becoming bound to fix his abode in Reggio. He treated the proposal as an insult, withdrew his suit, and refused to renew it even when the obnoxious condition was dropped. Other circumstances seem to have combined with this to make him weary of his place, long before the expiration of the three years during which he held it. In 1549, being still only in his thirty-second year, he was appointed by the Grand Duke Cosmo of Tuscany to a professorship in Pisa. Brought at length to appreciate the happiness of repose, he remained as a teacher in that university for about twenty-five years, lecturing first on the belles lettres, and afterwards on the Aristotelian politics and ethics. But even in this academic retirement there presented itself one event to arouse his military ardour. In 1554, during the war of Siena, the troops of Pietro Strozzi made a demonstration upon Pisa, which had been left ungarrisoned. In the midst of the panic that arose, Bargæus put himself at the head of the students, inspirited them and the citizens to make a show of resistance, and kept the assailants at bay until the place was relieved. In the course of the same war he showed his public spirit in another way. The grand duke having been obliged to let the university salaries fall into arrear, all the other professors, avaricious or poor, retired from their duties; but Bargæus remained at his post, maintaining himself by pledging his household effects and his library. The Medici were not unmindful either of these public services rendered by their partizan, or of his literary merits. In 1575, being in his fiftyeighth year, he was called to Rome by the Cardinal Ferdinand, afterwards grand duke, who pensioned him liberally. Thus, as he acknowledges, he was allowed leisure for prosecuting those literary undertakings of which the author of the poem "On Hunting" was believed capable. Similar encouragement was given to him from France, where his early misdeeds had by this time been forThe works of Bargæus, published and unpublished, are enumerated by Mazzuchelli in the elaborate article under his name. Among those which were printed are several which do not require minute notice - such as three funeral orations upon royal personages, a few epistles scattered through various collections, and Latin commentaries on his own life, which were inserted in Salvini's "Fasti Consolari dell' Accademia Fiorentina."

gotten. Henry III., whose father's memory | volume of love-poems in the same language, Bargæus had celebrated in one of his Latin "Poesie Toscane," by Bargæus and Mario Coharangues, loaded him with titles and pen-lonna. Caro speaks of the translation somesions. These princely incentives to exertion were not bestowed in vain: the retired soldier-professor enjoyed his old age of leisure for twenty years; and the list of his works shows that he did not spend the time wholly in idleness. After having removed to Florence, on his patron's accession to the dukedom, and having there resided for several years, he returned to close his varied life at Pisa. He died there in 1596, aged seventynine years, and was buried in the ground of the Campo Santo, consecrated alike by art and by religion.

what disparagingly; but Crescimbeni pronounces it to be the best Italian translation of the Edipus. (Crescimbeni, Della Volgar Poesia, iv. 86.; Argelati, Biblioteca degli Volgarizzatori, 1767, iv. 403.) 6. A large number of poems in Latin, upon which the author's reputation in his own age mainly rested. Ebert (General Bibliographical Dictionary, art. "Bargæus") cites, as rare, an edition of the "Poemata omnia ab ipso diligentissimè recognita et aucta, item Marii Columnæ quædam Carmina," as published by the Giunti at Florence in 1568, 8vo. This edition, however, seems to be quite unknown to all the critical biographers of Bargæus ; and neither by them nor by the writer of the present article has any edition of the collected poems been seen, older than the "Petri Angelii Bargæi Poemata omnia diligenter ab ipso recognita," Rome, Zanetti, 1585, 4to. The thick volume thus entitled contains the following pieces: -(1.) "Cynegeticon vel de Venatione Libri sex." This poem had al

Other works of greater note are the follow-ready been twice published, at Leyden, by had already been printed at Paris, by order | the Medici might throw into the shade the

ing :-1. " De Ordine legendi Scriptores Historiæ Romanæ," 1576, 4to., 1642, 8vo., and in the work of Grotius, "De Studiis Instituendis," 1643, 1645; translated also into Italian, and annexed to Del Rosso's "Vite dei XII. Cesari di Suetonio," Florence, 1611, 8vo.; afterwards at Venice, 1738, 4to. 2 and 3. "Commentarius de Obelisco ad Sixtum Quintum," Rome, 1586, 4to., and "De Privatorum Publicorumque Urbis Romæ Eversoribus Epistola,” Florence, 1589, 4to. These two treatises are well known to scholars, having been inserted by Grævius in his "Thesaurus Antiquitatum Romanarum," tom. iv. p. 1869-1936. Both, but particularly the latter, which is an interesting series of observations judiciously conceived and well generalised, have perhaps been used in modern times oftener than quoted. Two recent writers (Hobhouse, Illustrations of Childe Harold, p. 87.; and Platner, Beschreibung der Stadt Rom, vol. i. part i. p. 257.) have brought Bargæus directly under the notice of antiquarian students by citing him as a witness to a curious fact, the destruction of heathen statues in Rome by Sixtus the Fifth, on the ground of religious scruples ("De Obelisco," p. 1931.). Platner falls into the odd mistake of calling Bargæus a Portuguese. 4. A short Latin narrative, drawn up from personal observation, of the expulsion of the French from Siena by Cosmo de' Medici in 1555: "De Bello Senensi Commentarius," first published, with notes by Moreni, at Florence, e. in 1812, 8vo. (Ersch und Gruber, Allgemeine Encyclopädie, art. Angeli.") 5. An Italian translation of the "Edipus Tyrannus" " of Sophocles, printed at Florence in 1589, 8vo., both separately, as it would appear, and in a

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Gryphius, 1562, 4to., and at Florence by the Giunti, 1568, 8vo. The composition of it seems to have been a favourite occupation for hours of leisure from the anthor's early youth. The unrelieved dryness of its didactic form is in some degree atoned for, by the interest which belongs to its curious fund of information on the habits of wild animals, and by the more poetical charm of the spirit and faithfulness distinguishing a good many of its hunting scenes and woodland landscapes. If not a high work of poetical art, it is, at all events, the author's best poem. (2.) "Ixeuticon vel de Aucupio Liber primus," previously published at Florence by the Giunti, 1566, 4to. (3.) "Epithalamium in Nuptias Francisci Medicis," previously printed by the Giunti, Florence, 1566, 4to. (4.) "Eclogæ Quatuor." (5.) " Epistolarum Liber unus." (6.) "Carminum Libri quatuor." In these poems, which their admirers compared with those of Catullus, the poet, as he gravely intimates, consented to relax in some measure the anti-mythological opinions which made up one of the most creditable portions in his poetical creed; and, “that he might promote the beauty of his verses, he did not wholly abstain from the usual diction and fables of the Gentile poets." The Epithalamium, the eclogues, and a large number of the principal pieces among the Carmina, are in Gruter's "Deliciæ Italorum Poetarum," part i. 1608, p. 111-159.; and a selection, differ ing from Gruter's only in minor particulars, will be found in the Florentine "Carmina Illustrium Poetarum Italorum," t. i. 1719, p. 191 -237. 7. The three Epistles of Pietro's brother Antonio. 8. "Syriados Libri sex priores." The first two books of this poem of Henry III., 1582, fol.: the six books included in this edition of 1585, adding four to the two previously published, left the work still but half-finished. The whole poem, containing twelve books, was first printed by the Giunti at Florence, 1591, 4to. There is another complete edition from the same press, 1616, 4to.; and Mazzuchelli names also a Venetian edition of 1616, in 4to. The Syriad, an epic poem treating of the crusade under Godfrey of Bouillon, - is curious both for its contents and for its history.

When, in 1575, Torquato Tasso sent the manuscript of the "Gierusalemme Liberata " to Scipio Gonzaga, to be by him submitted to the critical censure of literary men in Rome, Bargæus had just arrived in that city. He was one of those most anxiously consulted; and his name occurs frequently in the course of the interesting correspondence, in which the results of the scrutiny are recorded. (Serassi, Vita di Torquato Tasso, 2d edit. tom. i. pp. 215-217, 234-236.; and the "Lettere Poetiche" in the Opere di Torquato Tasso, Venice, 1739, 4to. tom. x. pp. 94. 97, 98, 102, 108, 114, 132, 134, &c. &c.) Bargæus seems to have expressed himself freely, and to have made many suggestions of alteration, some of which went very deeply into the structure of the poem. But his objections do not appear to have been either unkindly meant or unkindly taken: and Tasso himself, in the midst of the irritation into which this unhappy correspondence threw him, always speaks of the "Signor Barga" not only with deference, but even with indications of liking. The odd circumstance, however, is, that Bargæus had long before commenced his own poem on the same theme with Tasso's; for in his preface to the edition of 1591, he asserts that he had designed the Syriad, and had even begun to write it, nearly thirty years before. Tasso, in speaking of the Syriad long afterwards ("Apologia della sua Gierusalemme," in the Opere, tom. ii. p. 309.), uses expressions which seem to mean, that before having completed his own poem he was aware of the other being in progress. But in the correspondence, the Syriad is never named: and Tasso had evidently no previous personal acquaintance with its author, about whom, indeed, he asks in one place, with an amusing earnestness, whether Barga be his familyname, or the name of his birthplace. It is of little importance, however, whether, and how soon, Tasso knew of the Syriad. The characteristic fact is, that Bargæus was not for a moment discouraged by becoming acquainted with the Gierusalemme. His selflove, indeed, was supported, not only by the praises wafted to him from France, but by the exhortations of his Florentine patron, the Cardinal Ferdinand, who, not improbably, hoped that a poet patronised by the house of

dependent of the Este. When the first two books of the Syriad were printed at Paris, the poem of Tasso, newly published, was in the highest flush of its celebrity: its reputation was probably yet greater when Bargæus, by publishing the first half of his work in Italy itself, challenged a direct comparison. There is even reason for believing that he wrote the whole of it, except the first and second books, after the Gierusalemme had been given to the world; for the four books following these would probably have been printed with them if they had then existed; and as to the remaining six, he himself declares that he did not begin to compose them till after the marriage of Ferdinand de' Medici, which took place in 1589. Those who are familiar with the spirit manifested towards Tasso by those of his countrymen who called themselves critics, are not surprised to find that Bargæus was gravely compared with him. He was so compared sometimes by those who were weary of exalting Ariosto at Tasso's expense; sometimes by others, who thought equally ill of all men of genius who dared to use a modern language. Indeed, much of the partiality expressed towards Bargæus, both in his own age and in the succeeding, arose evidently from his position in the learned world, as having been, both by his example and by some of his academical discourses, a distinguished advocate of the decaying cause of classicism. (Dati, Prose Fiorentine, part i. vol. i. Florence, 1661, Prefazione Universale, sub fin. ; Tiraboschi, Storia della Letteratura Italiana, 4to. ed. 1787-1794, tom. vii. part iv. p. 1565.) To the complete editions of his poem there are annexed a hundred pages of scholia, the author of which, Roberto Titi, affirms that the Syriad is universally acknowledged to equal the literary masterpieces of ancient Rome. The opinion which the poet himself entertained in regard to his own merits, is expressed in his latest preface, without any disguise. He admits that his poem is not equal, nor nearly equal, to those of Virgil and Homer; but adds, with manifest complacency, that it is much to stand even next to such men, although separated from them by a wide interval.

It is not easy to discover, in any of the poet's works, reason for the opinion expressed by one of his recent critics, " that if composed earlier, the Syriad might, in some respects, have rivalled the poem of Tasso." In plan, and in proportion of parts, it is one of the worst poetical works that has ever become even partially famous. Serassi speaks of it too tenderly when he says, that " it is not an imaginative story, but a mere metrical chronicle." Hundreds of verses are occupied with circumstances the most trifling - dull orations, with the replies to them or with such incidents as adinner given by the prelate

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