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ducted. It does not appear that M. Soave has understood, or taken in a proper sense, a single sentence of his author; and even what is most intelligible is distorted and placed in a ludicrous light. I was informed, when too late, that this Italian Anti-Kantist resides at Modena, where he is teacher of philosophy at the Collegio, or Liceo Nuzionale, otherwise I should have made a personal acquaintance with him. Soave has long been esteemed in Italy as a man of talents. He is the author and translator of several works, and has written a Grammatica Ragionata della Lingua Italiana, which is accounted the best Italian Grammar extant, though it is rather a sketch than a complete work; likewise a collection of Novelli Morali, in two volumes, each containing eighteen tales which are narrated with great ease, and are in high estimation for the elegance and purity of their style. He has likewise written a System of Logick and Metaphysicks, after the manner of Locke and Condillac. Among his translations, that of Virgil's Georgics is much esteemed. He has likewise rendered into his native language the Idylls of Gesner, and the Abstract of Locke on the Human Understanding, by Wynne.

At Parma I found, to my regret, that the beautiful Corregios which I saw there ten years since, were gone. I was unable to obtain admission to the pieces by Corregio, which were found in an apartment in a nunnery, and which Bodoni made known in a splendid work, with a description by Gherardo de Rossi, of Rome. Bodoni would, however, have procured me access to them, had not the only person that can enter the convent whenever he pleases, the,

French Prefect, who is a friend of Bodoni's, been indisposed. The designs for the engravings of Bodoni's work were sketched by Vieyra, a Portuguese, in a few hours.

Another artist, of the name of Trevisani, is at present employed by the French Prefect in taking copies of them in oil. At the Academy, which now contains nothing but the prize-pieces of young, artists, I heheld, on a small scale, the effects of French. repacity, which we experienced at Rome in a much greater degree. All the antique statues which formerly stood in the hall of the Academy, and those dug out of the subterraneous ruins of Velleji, stood packed up in chests, ready to be sent off to Paris. Among them were some busts of Emperors, and figures with most exquisite draperies.

Bodoni's printing-office at Parma is a curiosity which no traveller ought to omit seeing. The proprietor himself is a man of the utmost politeness, cordiality, and good-nature, with whom you feel the same freedom in the first minute as with an old friend. His acquaintances know perfectly well how to take advantage of his disposition to serve every one. When any of them has produced a paltry poem, a discourse, or any worthless trifle, the kind Bodoni is easily prevailed upon to print it; and thus a great quantity of trash passes through his presses, and is purchased at high prices, on account of the beautiful type, by the collectors of works of his printing. His splendid editions of the Latin Classicks are in less estimation than the Italian, because they are not very correct. Didot has detected a number of very gross errors in his Virgil. Of his Italian authors, the works of Tasso,

Aminta, and the Gierusalemma Liberata, edited by the Abate Serassi, are in high repute for their correctness. His Petrarca deserves the same commendation. On the contrary, the admirable Roman edition of Dante, by Padre Lombardi, is justly preferred to Bodoni's, which was edited by Monsignor Dionisi, of Verona. Dionisi ought perhaps to have been more capable than any other person of producing a correct edition of the Divina Commedia, for he devoted about thirty years of his life almost entirely to the study of Dante, and there is not a manuscript in Italy, not an early or a rare edition, which he has not collated, for the sake of the different readings. But instead of taking one of the best editions for his ground work, and then judiciously selecting the best readings, he has, according to his caprice, composed a Pasticcio of them all, and produced a text that has no other authority than the taste of Monsignor Dionisi, which none can certainly allow to be genuine. Padre Lombardi, during the eighteen years be was employed on his Dante, likewise collated most of the MSS. and early editions; but posessing more judgment, he selected the Nidobeatina edition for his groundwork. He gives his reasons for rejecting or admitting certain readings, which are almost always judicious, and, in consequence of fortunate conjectures, which he afterwards found confirmed by MSS., has amended the text where it wanted correction. On this account Bodoni's Dante is in less request, while his Tasso and Petrarca are caught up with avidity. He defers his intended edition of Ariosto, which the amateurs have long been anxiously expecting; he says he is afraid of

undertaking a work of such magnitude, in six volumes, and various sizes. He has an idea of commencing a Homer, in four volumes, in large folio. He intends to print only the text, and was still undecided what edition to select for the groundwork. My companion, M. Riemer, a worthy pupil of Wolf, advised him to take the edition by that author, which is universally acknowledged to be the best, both for the correctness of the text and of the impression.

The two equestrian statues of the Dukes Alexander and Ranieri Farnese, in the square at Placenza, deserves to be ranked among the most distinguished productions of modern art, notwithstanding all the violations of good taste observable in their style. They are symbolical. The hero Alexander is represented riding against the tempest, which blows back his robe and the mane of his snorting charger. The whole group has an air of boldness, and appears to be pushing forward with a resolution becoming a warrior. The figure of Alexander is however rather too mean for a hero. The other, who is a statesman, rides at a more moderate pace, and in a more cautious manner. The forms of both the horses might be better; but there is great spirit in their movements.-How different is the impression made by the representation of a Cosmo de Medici, an Alexander Farnese in the coat of mail of the middle ages, and mounted on a stately charger, and by the figure of a naked Bonaparte, striding forward with a globe in one hand, and a long stick in the other, as Canova has represented him, and for which, as may easily be conjectured, that artist has received unbounded applause.

The nearer the traveller ap

proaches to Milan, the more dusty, but likewise the more lively, the roads become. The soil is also in a much higher state of cultivation. To discover here any traces of the war would require a penetrating eye that its effects are still felt both by the inhabitants of the country and of the city, I was informed by several yet the general affluence and the native industry of the people announce, that in a few years of peace they would cease to be felt, if the mother republick did not continually send out new leeches. Milan is at present, beyond dispute, the most cheerful and lively town in Italy; and though in the populous city of Naples there may be more noise and tumult, yet in the former there is more really useful activity and bustle. The excessive luxury which now prevails at Milan, indeed shews that a small number are revelling at the expense of the majority. You, how ever, perceive no misery; and though the necessaries of life are dear, yet there is a great quantity of specie in circulation. Every thing is so Frenchified at Milan, that you scarcely conceive yourself to be in Italy; and to a person coming from the south of Italy, the Milanese dialect sounds like a French Patois.

In this place you hear a great number of the literati speaking of Kant's philosophy, but I did not meet with one who was acquainted with it intimately, and through the original source. In general, an inexpressible confusion and fermentation at present prevails in the heads of the young literati at Milan. Unfortunately it can never take a favourable turn as long as they are obliged to borrow the light that is to illumine them from their neighbours on the Seine.

The celebrated poet Monti, who obtained such reputation by his Bassevilliade, is lecturer of the belles-lettres at the academy of Brera. The Academy of arts is under the direction of a young artist, of twenty-five, called Bossi, who notwithstanding his youth, fills that post with ability and dignity. He is an artist of extraordinary talent, and an uncommonly cultivated mind. By his means many an important improvement has already been made in the academy, and he hopes to effect others with the assistance of Melzi, whose confidence he possesses. The class of decorators and of the artisans in general, who make architectonic ornaments, enjoys the benefit of the instruction and models of Albertolli, the most expert artist in that line in all Italy. Nothing can be more tasteful, more neat and ornamental, than his drawings and inventions, which are partly known by three volumes of engravings. of his embellishments. Appiani is esteemed a capital portraitpainter, and indeed the first in Italy, and he deserves that character; but he must not be compared with the ancient great portrait painters of Italy and other countries. Our modern art has its peculiar character, and a particular point from which it must be viewed. Our present painters are no more able to rival Titian, Raphael, Dürer, and Holbein, than our sculptors can vie with those of ancient times. The ancient works are the fixed classick rule, the standard of unattainable excellence, and only to approach this perfection is a great commendation for a modern artist. A modern production of art possesses great merit if it but evince some traces of resemblance to the works of antiquity. I saw some por

traits at Appiani's, which had much nature and gracefulness in the disposition. His colouring is charming, but not true; rather delicate than strong, I was particularly pleased with his treatment of inferiour objects, which appear to be, but actually are not, neglected. They are merely subordinate to the principal subject. This artist has likewise made some attempts in the historical way, but he will scarcely obtain any great reputation in that line. He is not destitute of inventive talent, but his composition and design are deficient in style, and his figures in character." Appiani possesses a Madonna in excellent preservation, said to be by Leonar

do da Vinci, to which he attaches a very high value, but upon nearer examination it might perhaps be only a Luini.

Such are the few observations I had an opportunity of making on literature and the arts during my expeditious journey through Italy. I now hasten to close my long letter, while I cast a farewel look towards the enchanting land in which I have resided almost ten years, which I love as my adopted country, which has furnished me with a never-failing source of exquisite recollections, and which, in the gloomy and inclement regions of the North,will present my fancy with the images of a serener heaven and a more delightful earth.

SILVA.

Nil non mortale tenemus,
Pectoris exceptis, ingeniique bonis.

IN some such gloomy moment as that of parting with a friend, or of wounding my body, I cannot but meditate on the evanescent nature of human life. These heavens, say I, are magnificent, but I shall not always behold them: this terrestrial scenery is luxuriant and beautiful, but it will not charm me forever. I had a friend, in whose vigour I rejoiced, whose knowledge instructed, and whose humour delighted me; but the place that knew him knows him no more. If I repair to the wellknown closet, its occupant is gone; if I visit the parlour circle, his musical and facetious voice is not heard. At club, on 'change, in the mall, I no longer meet his intelligent eye, nor grasp his beneficent hand. If I visit his tomb, I see nothing but a mass of offensive ashes. Yet he is immortal by his Vol. III, No. 5. 2F

OVID.

No. 15.

I learn in

living thoughts and glowing words.
The ars omnium conservatrix ar-
tium still reflects the image of his
heart and shows the imperishable
beauty of his mind.
struction from the fact.
I too
would leave some print of my
hand and some vestige of my foot
in the dust of this globe. I cheer-
fully assist in planting this forest
and forming this parterre, in the
hope that they will live in youthful
efflorescence, when he who now
sees me at my labour, shall seek
me and I shall not be.

PROGRESS OF THE ARTS.

FIRST the necessary arts are practised, afterward those which are convenient and pleasurable. First hunting, then fowling, then fishing. First pasturage, then agriculture, then gardening. First thatched houses, then log...framed

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....brick.....stone.....marble. First times he praised the profligate fa besmearing the body, then skins.... vourites of a profligate court, and coarse cloths....dyed cloths...linens used his wit and learning by turns ....muslins....bleaching....washing... to provoke and to condemn the

and all the tinkling ornaments of a Parisian belle.

BLAIR

is justly esteemed an elegant writer; but his labour is fully equal to his success. Without a particle of genius, he disputes the ground with fame inch by inch. He fabricates his sentences as the weaver does his cloth, yet with more toil, and less satisfaction.

PETRONIUS ARBITER.

in

NONE better deserves a page eccentrick biography than this extraordinary man. He seems to have possessed the learning, knowledge of the world, and the graces, which lord Chesterfield so eagerly desired for his son. He was a scholar, a courtier, and a debauchee. In his consular office he emulated the patriotism of Brutus and the dignity of Scipio; yet in private life he was an extravagant epicure, and tolerated in his friends the grossest impurities. He had an almost incredible versatility of temper and talents. As occasion suited, he could be grave with philosophers, a mimick with buffoons, cruel as Nero his master, or sportive as the lamb that frolicks on the mountain's side. He spent the day in sleep and negligence, and the night in loves, gaiety and song. He was serious in trifles, and he trifled with every thing serious.

He even mocked the solemnities of death, causing his veins to be opened and closed alternately, until nature refused to supply farther opportunity to his Indifference and pastime. He was equally singular in his writings. Sometimes he scourged and some

excesses of his time. But notwithstanding the depravity of his manmers and the obscenity of his pen, there are several editions of his works; and the ingenuity of christian editors has been often exercised to ascertain the meaning of his funny puns, and indicate the point of his wicked epigrams. The following story will show the playful elegance of his satire, though none will believe it as a matter of fact. Matrona quædam Ephesi tam notæ erat pudicitiæ, ut vicinarum quoque gentium feminas ad sui spectaculum evocaret. Hæc ergò cum virum extulissit, non contenta vulgari more funus passis prosequi crinibus, aut nudatum pectus in conspectu frequentiæ plangere, in conditorium etiam prosequuta est defunctum, positumque in hypogeo, græco more, corpus custodire ac flere totis noctibus diebusque cœpit. Sic affiictantem se ac mortem inediâ persequentem non parentes potuerunt abducere, non propinqui magistratus ultimò repulsi abierunt : complorataque ab omnibus singularis exempli femina quintum jam diem sine alimento trahebat. Assidebat ægræ fidissima ancilla, simulque et lacry mas commendabat lugenti, et quoties defecerat, positum in monumento lumen renovabat. Una igitur in tota civitate fabula erat; et solum illud affulsisse verum pudicitiæ amorisque exemplum omnis ordinis homines confitebantur: cum interim imperator provinicæ latrones jussit crucibus affigi, secundum illam candem casulam,in qua recens cadaver matrona, deflebat. Proxima ergò nocte cum miles, qui cruces servabat, ne quis ad sepulturam

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