morated on Vecellio's canvass, adorns the Pitti Gallery, and almost persuades us that Aretino was a gentleman. From an age too prolific in parasitical literature and in shameless morals, there has descended to us a name radiant with genius, and unsullied in reputation. The historian of Urbino may contribute a leaf to the garland which fame has hung upon the brows of VITTORIA COLONNA, for her mother was a princess of Montefeltro, and to her maternal ancestry she seems indebted for her heritage of talent. She was daughter of Fabrizio Colonna, by Agnesina daughter of Duke Federigo of Urbino, and was born in 1490. When but four years old she was betrothed, in conformity with the usage of her times, to a mere infant. Yet her marriage may be deemed fortunate, for her husband, Ferdinando Francesco Marquis of Pescara, was not only a cadet of the very ancient house of Avalos, which had accompanied Alfonso of Aragon from Spain to Naples, and had married the heiress of Aquino and Pescara in the Abruzzi, but, among the warriors of an era still fertile in heroes, none was more early distinguished or promoted. He died prematurely at thirty-three, while in command of the imperial troops; but the last transactions of his life, to which we have elsewhere referred, were tarnished by a double perfidy.* His consort, imitating her grandmother Battista Sforza, had learned to console the childless solitude of his prolonged absences by habits of study, and in them found resource amid the bereavements of a widowhood which no offer of marriage could tempt her to infringe. But though she sought not the world or its incense, her high rank, wealth, and personal graces, gained many an admirer, whilst the elevated beauty of her poetry, the charms of her conversation and correspondence, attracted to her the respectful adoration of the learned. It is supposed that she remained in ignorance of the blot which attached to her husband's memory, for she cherished it with rare constancy, modifying grief by *At Vol. II. p. 416. spiritual solace. In her piety there was neither blind superstition nor cold formality. Devotional exercises and religious intercourse shared her hours with poetry and literature tinged by their influence, and among her most welcome visitors were some of those Italian divines who favoured the Reformation. On this account she has been claimed as a convert to protestantism, but upon insufficient grounds. She adhered apparently to the faith of her fathers, and was spared by a timely death, in 1547, from witnessing the persecutions undergone by her friends of the new creed. Among those to whom the sympathies of genius and piety united her was Michael Angelo, who testified his respect by a visit to her death-bed, and his regret by a touching sonnet to her memory. Not less gratifying was the tribute to her worth which Ariosto has embalmed in seven stanzas of the Furioso, canto xxxvii. :— "One will I choose, and such will choose, that she All envy shall so well have overthrown, No other woman can offended be, If, passing others, her I praise alone; Nor joys this one but immortality, Through her sweet style, and better know I none." Of her writings few remain, and these but fugitive pieces. We are happy in being able to make our readers acquainted with them through the graceful translations of the late Mr. Glassford, selecting three sonnets in which she tenderly alludes to the blight of her widowhood, mildly inculcates the cloisters' quiet, and clothes in glowing language orisons of holiest fervour. I. "Methinks the sun his wonted beam denies, Nor lends such radiance to his sister's car; True glory perished and the pride of war; Unmoved I am, though heaven and earth invite, Since the bright sun that cheered me vanished so, II. "If those delights which from the living well Know what great peace with love divine can dwell, Perhaps it would be then less hard to tell Why fame and fortune have been counted light, And how the wisest men transported quite Would take their cross and seek the mountain cell, In prospect, but now also while the blind And erring world from shadows will not cease. When the awakened soul to God has flown With humble will to what He wills inclined, III. "Thanks to thy sovereign grace, O God! if I But thou beholdest how I fade and dry, Choked with a waste of leaf, and void of fruit, Unless thy spring perennial shall recruit Prepare me when thou comest, Lord, to show In Italy the Muses have ever had numerous priestesses, welcomed with an enthusiasm measured rather by the gallantry of their admirers than by their real deserts. Among these was This sonnet is also rendered in Specimen Translations of Italian Sonnets, a small volume published by Murray, 1827. LAURA BATTIFERRI, born at Urbino in 1522-3, whose genius has inspired the pens of Caro, Varchi, Mazzuchelli, and others; and whom by a questionable, and, as regarded her morals, a most unmerited compliment, Pietro Vettori compared to Sappho. Following a very different model, she, like Vittoria Colonna, composed many devotional pieces, often versifying the sadder portions of sacred writ, two volumes of which were published at Florence. Rarer perhaps, and more creditable than her poetic celebrity, was the reputation for moral worth transmitted to us in connection with her name, which she happily exchanged by her union with Bartolomeo Ammanati, notwithstanding frowns from a high quarter. The Duchess Vittoria, proud of her talents, laid upon her an injunction not to marry out of her native state. This restriction had the usual result; her husband was a Florentine sculptor, and it required all the influence of Cardinal Alessandro Farnese with his sister to obtain pardon for such flagrant disobedience. "In 1558, there were at the court of Urbino of old the resort of talented persons many great and famous poets, such as Messer Bernardo Capello, Messer Bernardo Tasso, Messer Girolamo Muzio, and Messer Antonio Gallo, whose whole occupation it was, like white gentle swans, emulously to sing, and celebrate in verse, the eminent beauty, and far more eminent virtues, of the illustrious Duchess." With these names might be coupled Dionigi Atanagi, the writer of this euphuism, and also Annibale Caro, Antonio Allegretti, Marco Montano, and Cornelio Lanci. Of Tasso and Muzio we elsewhere speak. Caro and Capello were connected with the ducal family only by one or two complimentary effusions, in return for occasional hospitality. Allegretti indited an epithalamium on the marriage of Duchess Vittoria, in which, alluding to the heraldic bearings then united, he celebrated the prudent hand of the wise shepherd (Paul III.), who transplanted that virgin Lily into good soil under the shadow of the mighty Oak; in conclusion, he summoned the attendants to scatter acorns and fleurs-de-lis before the bridal pair. Lanci's comedies no longer "fret and strut their hour upon the stage," but they are said to deserve the praise of comparative purity in an age when decency was no necessary ingredient of scenic merit. Three names remain for consideration, who, as natives of the duchy, may claim a brief notice. DIONIGI ATANAGI was born at Cagli, and, after twenty-five years spent at the Roman court, returned, in 1557, to recruit his constitution in his native air. He was invited to Pesaro by his sovereign, at the suggestion of Bernardo Tasso, who wished him to revise the Amadigi; but there he found his health still further impaired by mental fatigue. Several of his sonnets are addressed to members of the ducal family and court; one of them, inscribed to Guidobaldo II., lauds him as "a prince and captain of invincible valour, of wisdom superhuman, of bounty and benignity past belief, of ineffable eloquence, of incomparable liberality and magnificence, a paragon of religion, the lofty stay of Italian honour and renown. Being the natural sovereign as well as special patron and singular benefactor of the author, whose every hope rests in him next to God, it is his desire, in the full knowledge how much is due to his Excellency's infinite merits, to fill with heroic praises of him whatever work he may undertake; but overwhelmed by the grandeur of the theme, his silence is broken only by excuses for his deficiency." This fulsome trash is no unfair specimen of such compositions. The following invitation to Urbino, as an asylum of the Muses, is in a somewhat happier vein, which we have endeavoured to render: "Anime belle, e di virtute amiche, Cui fero sdegno di fortuna offende, |