Chapter XXII: Canto THE FOURTH: 375 (3)

[410] {350} [The Abbe de Sade, in his _Memoires pour la vie de Petrarque_ (1767), affirmed, on the strength of documentary evidence, that the Laura of the sonnets, born de Noves, was the wife of his ancestor, Hugo de Sade, and the mother of a large family. "Gibbon," says Hobhouse (note viii.), "called the abbe's memoirs a 'labour of love' (see _Decline and Fall_, chap. lxx. note 1), and followed him with confidence and delight;" but the poet James Beattie (in a letter to the Duchess of Gordon, August 17, 1782) disregarded them as a "romance," and, more recently, "an ingenious Scotchman" [Alexander Fraser Tytler (Lord Woodhouselee)], in an _Historical and Critical Essay on the Life and Character of Petrarch_ (1810), had re-established "the ancient prejudice" in favour of Laura's virginity. Hobhouse appears, but his note is somewhat ambiguous, to adopt the view of "the ingenious Scotchman." To pass to contemporary criticism, Dr. Garnett, in his _History of Italian Literature_, 1898 (pp. 66-71), without attempting to settle "the everlasting controversy," regards the abbe's documentary evidence as for the most part worthless, and, relying on the internal evidence of the sonnets and the dialogue, and on the facts of Petrarch's life as established by his correspondence (a complete series of Petrarch's letters was published by Giuseppe Fracassetti, in 1859), inclines to the belief that it was the poet's status as a cleric, and not a husband and family, which proved a bar to his union with Laura. With regard, however, to "one piece of documentary evidence," namely, Laura de Sade's will, Dr. Garnett admits that, if this were producible, and, on being produced, proved genuine, the coincidence of the date of the will, April 3, 1348, with a note in Petrarch's handwriting, dated April 6, 1348, which records the death of Laura, would almost establish the truth of the abbe's theory "in the teeth of all objections."]

[411] {351} ["He who would seek, as I have done, the last memorials of the life and death of Petrarch in that sequestered Euganean village [Arqua is about twelve miles south-west of Padua], will still find them there. A modest house, apparently of great antiquity, passes for his last habitation. A chair in which he is said to have died is shown there. And if these details are uncertain, there is no doubt that the sarcophagus of red marble, supported on pillars, in the churchyard of Arqua, contains, or once contained, his mortal remains. Lord Byron and Mr. Hobhouse visited the spot more than sixty years ago in a sceptical frame of mind; for doubts had at that time been thrown on the very existence of Laura; and the varied details of the poet's life, which are preserved with so much fidelity in his correspondence, were almost forgotten."--_Petrarch_, by H. Reeve, 1879, p. 14. In a letter to Hoppner, September 12, 1817, Byron says that he was moved "to turn aside in a second visit to Arqua." Two years later, October, 1819, he in vain persuaded Moore "to spare a day or two to go with me to Arqua. I should like," he said, "to visit that tomb with you--a pair of poetical pilgrims--eh, Tom, what say you?" But "Tom" was for Rome and Lord John Russell, and ever afterwards bewailed the lost opportunity "with wonder and self-reproach" (_Life_, p. 423; _Life_, by Karl Elze, 1872, p. 235).]

[mc] {352} _His mansion and his monument_----.--[MS. M., D. erased.]

[md] ----_formed his sepulchral fane_.--[MS. M.]

[412] [Compare Wordsworth's _Ode_, "Intimations of," etc., xi. lines 9-11--

"The clouds that gather round the setting sun
Do take a sober colouring from an eye
That hath kept watch o'er man's mortality."]

[413] ["Euganeis istis in collibus ... domum parvam sed delectabilem et honestam struxi ... hic quanquam aeger corpore, tranquillus animo frater dego, sine tumultibus, sine erroribus, sine curis, legens semper et scribens, Deum laudans."--Petrarca, _Epistolae Seniles_, xiv. 6 (_Opera_, Basileae, 1581, p. 938).

See, too, the notes to _Arqua_ (Rogers's _Italy: Poems_, 1852, ii. 105-109), which record the pilgrimage of other poets, Boccaccio and Alfieri, to the great laureate's tomb; and compare with Byron's stanzas the whole of that exquisite cameo, delicate and yet durable as if graved on chalcedony.]

[me] {353} _Society's the school where taught to live._--[MS. M. erased.]

[mf] ----_the soul with God must strive_.--[MS. M. erased.]

[414] The struggle is to the full as likely to be with demons as with our better thoughts. Satan chose the wilderness for the temptation of our Saviour. And our unsullied John Locke preferred the presence of a child to complete solitude.

["He always chose to have company with him, if it were only a child; for he loved children, and took pleasure in talking with those that had been well trained" (_Life of John Locke_, by H. R. Fox-Bourne, ii. 537). Lady Masham's daughter Esther, and "his wife" Betty Clarke, aged eleven years, were among his child-friends.]

[mg] {354} _Which dies not nor can ever pass away_.--[MS. M. erased.]

[mh] _The tomb a hell--and life one universal gloom_.--[MS. M. erased.]

[415] [Byron passed a single day at Ferrara in April, 1817; went over the castle, cell, etc., and a few days after wrote _The Lament of Tasso_, the manuscript of which is dated April 20, 1817. The Fourth Canto of _Childe Harold_ was not begun till the end of June in the same year.]

[416] [Of the ancient family of Este, Marquesses of Tuscany, Azzo V. was the first who obtained power in Ferrara in the twelfth century. A remote descendant, Nicolo III. (b. 1384, d. 1441), founded the University of Parma. He married for his second wife Parisina Malatesta (the heroine of Byron's _Parisina_, published February, 1816), who was beheaded for adultery in 1425. His three sons, Lionel (d. 1450), the friend of Poggio Bracciolini; Borso (d. 1471), who established printing in his states; and Ercolo (d. 1505), the friend of Boiardo,--were all patrons of letters and fosterers of the Renaissance. Their successor, Alphonso I. (1486-1534), who married Lucrezia Borgia, 1502, honoured himself by attaching Ariosto to his court, and it was his grandson, Alphonso II. (d. 1597), who first befriended and afterwards, on the score of lunacy, imprisoned Tasso in the Hospital of Sant' Anna (1579-86).]

[417] {355} [It is a fact that Tasso was an involuntary inmate of the Hospital of Sant' Anna at Ferrara for seven years and four months--from March, 1579, to July, 1586--but the causes, the character, and the place of his imprisonment have been subjects of legend and misrepresentation. It has long been known and acknowledged (see Hobhouse's _Historical Illustrations_, 1818, pp. 5-31) that a real or feigned passion for Duke Alphonso's sister, Leonora d'Este, was not the cause or occasion of his detention, and that the famous cell or dungeon ("nine paces by six, and about seven high") was not "the original place of the poet's confinement." It was, as Shelley says (see his letter to Peacock, November 7, 1818), "a very decent dungeon;" but it was not Tasso's. The setting of the story was admitted to be legendary, but the story itself, that a poet was shut up in a madhouse because a vindictive magnate resented his love of independence and impatience of courtly servitude, was questioned, only to be reasserted as historical. The publication of Tasso's letters by Guasti, in 1853, a review of Tasso's character and career in Symonds's _Renaissance in Italy_, and, more recently, Signor Angelo Solerti's monumental work, _Vita di Torquato Tasso_ (1895), which draws largely upon the letters of contemporaries, the accounts of the ducal court, and other documentary evidence, have in a great measure exonerated the duke at the expense of the unhappy poet himself. Briefly, Tasso's intrigues with rival powers--the Medici at Florence, the papal court, and the Holy Office at Bologna--aroused the alarm and suspicion of the duke, whilst his general demeanour and his outbursts of violence and temper compelled, rather than afforded, a pretext for his confinement. Before his final and fatal return to Ferrara, he had been duly warned that he must submit to be treated as a person of disordered intellect, and that if he continued to throw out hints of designs upon his life and of persecution in high places, he would be banished from the ducal court and dominions. But return he would, and at an inauspicious moment, when the duke was preoccupied with the ceremonies and festivities of a third marriage. No one attended to him or took heed of his arrival; and, to quote his own words, "in a fit of madness" he broke out into execrations of the ducal court and family, and of the people of Ferrara. For the offence he was shut up in the Hospital of Sant' Anna, and for many months treated as an ordinary lunatic. Of the particulars of his treatment during these first eight months of his confinement, apart from Tasso's own letters, there is no evidence. The accounts of the hospital are lost, and the _Libri di spesa_ (_R. Arch. di Stato in Modena_; _Camer. Ducale: Casa_; _Amministrazione_, Solerti, iii. _Docu_. 47) do not commence till November 20, 1579. Two years later, the _Libri di spenderia_ (Solerti, in. _Docu_. 51), from January, 1582, onward, show that he was put on a more generous diet; and it is known that a certain measure of liberty and other indulgences were gradually accorded. There can, however, be little doubt that for many months his food was neglected and medical attendance withheld. His statement, that he was denied the rites of the Church, cannot be gainsaid. He was regarded as a lunatic, and, as such, he would not be permitted either to make his confession or to communicate. Worse than all, there was the terrible solitude. "E sovra tutto," he writes (May, 1580), "m'affligge la solitudine, mia crudele e natural nimica." No wonder the attacks of delirium, the "unwonted lights," the conference with a familiar spirit, followed in due course. Byron and Shelley were ignorant of the facts; and we know that their scorn and indignation were exaggerated and misplaced. But the "pity of it" remains, that the grace and glory of his age was sacrificed to ignorance and fear, if not to animosity and revenge. (See _Tasso_, by E. J. Hasell; _History of the Italian Renaissance_, by J. A. Symonds; _Quart. Rev._, October, 1895, No. 364, art. x.; _Vita di Torquato Tasso_, 1895, i. 312-314, 410-412, etc.)]

[mi] {357} _And thou for no one useful purpose born_.--[MS. M. erased.]

[418] [Solerti (_Vita_, i. 418) combats the theory advanced by Hobhouse (see _note_ x.), that Lionardo Salviati, in order to curry favour with Alphonso, was responsible for "the opposition which the Jerusalem encountered from the Cruscan Academy." He assigns their unfavourable criticism to literary sentiment or prejudice, and not to personal animosity or intrigue. The _Gerusalemme Liberata_ was dedicated to the glory of the house of Este; and, though the poet was in disgrace, the duke was not to be propitiated by an attack upon the poem. Moreover, Salviati did not publish his theses in his own name, but under a _nom de guerre_, "L'Infarinato."]

[mj] {358} _And baffled Gaul whose rancour could allow_.--[MS. M. erased.]

[mk] _Which grates upon the teeth_----.--[MS. M. erased.]

[419] [Hobhouse, in his note x., quotes Boileau, but not in full. The passage runs thus--

"Tous les jours, a la cour, un sot de qualite
Peut juger de travers avec impunite,
A Malherbe, a Racan, prefere Theophile,
Et le clinquant du Tasse a tout l'or de Virgile."

Perhaps he divined that the phrase, "un sot de qualite," might glance back on a "noble author," who was about to admit that he could not savour Horace, and who turned aside from Mantua and memories of Virgil to visit Ferrara and the "cell" where Tasso was "encaged." (See Darmesteter's _Notes to Childe Harold_, pp. 201, 217.)

If "the Youth with brow serene," as Hugo calls him, had lived to read _Dedain. A Lord Byron, en_ 1811, he would have passed a somewhat different criticism on French poetry in general--

"En vain vos legions l'environnent sans nombre,
Il n'a qu'a se lever pour couvrir de son ombre
A la fois tous vos fronts;
Il n'a qu'a dire un mot pour couvrir vos voix greles,
Comme un char en passant couvre le bruit des ailes
De mille moucherons!"
_Les Feuilles d'Automne_, par Victor Hugo,
Bruxelles, 1833, pp. 59, 63.]

[ml] {359} _Could mount into a mind like thine_----.--[MS. M. erased.]

[mm] ----_they would not form the Sun_.--[MS. M.]

[420] [In a letter to Murray (August 7, 1817) Byron throws out a hint that Scott might not like being called "the Ariosto of the North," and Murray seems to have caught at the suggestion. "With regard to 'the Ariosto of the North,'" rejoins Byron (September 17, 1817), "surely their themes, Chivalry, war, and love, were as like as can be; and as to the compliment, if you knew what the Italians think of Ariosto, you would not hesitate about that.... If you think Scott will dislike it, say so, and I will expunge." Byron did not know that when Scott was at college at Edinburgh he had "had the audacity to produce a composition in which he weighed Homer against Ariosto, and pronounced him wanting in the balance," or that he "made a practice of reading through ... the _Orlando_ of Ariosto once every year" (see _Memoirs of the Life, etc._, 1871, pp. 12, 747); but the parallel had suggested itself. The key-note of "the harpings of the north," the chivalrous strain of "shield, lance, and brand, and plume and scarf," of "gentle courtesy," of "valour, lion-mettled lord," which the "Introduction to _Marmion_" preludes, had been already struck in the opening lines of the _Orlando Furioso_--

"Le Donne, i Cavalier', l'arme, gli amori,
Le cortesie, l'audaci imprese io canto."

Scott, we may be assured, was neither disconcerted nor uplifted by the parallel. Many years before (July 6, 1812), Byron had been at pains to inform him that so august a critic as the Prince Regent "preferred you to every bard past and present," and "spoke alternately of Homer and yourself." Of the "placing" and unplacing of poets there is no end. Byron had already been sharply rebuked by the _Edinburgh Review_ for describing _Christabel_ as a "wild and singularly original and beautiful poem," and his appreciation of Scott provoked the expostulation of a friendlier critic. "Walter Scott," wrote Francis Hodgson, in his anonymous _Monitor of Childe Harold_ (1818), "(_credite posteri_, or rather _praeposteri_), is designated in the Fourth Canto of _Childe Harold_ as 'the Northern Ariosto,' and (droller still) Ariosto is denominated 'the Southern Scott.' This comes of mistaking horse-chestnuts for chestnut horses."]

[421] {361} The two stanzas xlii. and xliii. are, with the exception of a line or two, a translation of the famous sonnet of Filicaja:--"Italia, Italia, O tu, cui feo la sorte!"--_Poesie Toscane_ 1823, p. 149.

["Italia, Italia, o tu cui feo la sorte
Dono infelice di bellezza, ond'hai
Funesta dote d'infiniti guai
Che in fronte scritti per gran doglia porte:
Deh fossi tu men bella, o almen piu forte,
Onde assai piu ti paventasse, o assai
T'amasse men, chi del tuo bello ai rai
Par che si strugga, e pur ti sfida a morte,
Che or giu dall' Alpi non vedrei torrenti
Scender d'armati, ne di sangue tinta
Bever l'onda del Po gallici armenti;
Ne te vedrei, del non tuo ferro cinta,
Pugnar col braccio di straniere genti,
Per servir sempre, o vincitrice, o vinta."]

[mn]
_And on thy brow in characters of flame_
_To write the words of sorrow and of shame_.--[MS. M. erased.]

[mo]
----_unbetrayed_
_To death by thy vain charms_----.--[MS. M. erased.]

[422] {362} The celebrated letter of Servius Sulpicius to Cicero, on the death of his daughter, describes as it then was, and now is, a path which I often traced in Greece, both by sea and land, in different journeys and voyages. "On my return from Asia, as I was sailing from AEgina towards Megara, I began to contemplate the prospect of the countries around me: AEgina was behind, Megara before me; Piraeus on the right, Corinth on the left: all which towns, once famous and flourishing, now lie overturned and buried in their ruins. Upon this sight, I could not but think presently within myself, Alas! how do we poor mortals fret and vex ourselves if any of our friends happen to die or be killed, whose life is yet so short, when the carcasses of so many noble cities lie here exposed before me in one view."--See Middleton's _Cicero_, 1823, ii. 144.

[The letter is to be found in Cicero's _Epist. ad Familiares_, iv. 5. Byron, on his return from Constantinople on July 14, 1810, left Hobhouse at the Island of Zea, and made his own way to Athens. As the vessel sailed up the Saronic Gulf, he would observe the "prospect" which Sulpicius describes.]

[mp] {363} _These carcases of cities_----.--[MS. M. erased.]

[423] ["By the events of the years 1813 and 1814, the house of Austria gained possession of all that belonged to her in Italy, either before or in consequence of the Peace of Campo Formio (October 17, 1797). A small portion of Ferrara, to the north of the Po (which had formed part of the Papal dominions), was ceded to her, as were the Valteline, Bormio, Chiavenna, and the ancient republic of Ragusa. The emperor constituted all these possessions into a separate and particular state, under the title of the kingdom of Venetian Lombardy."--Koch's _History of Europe_, p. 234.]

[424] {364} It is Poggio, who, looking from the Capitoline hill upon ruined Rome, breaks forth into the exclamation, "Ut nunc omni decore nudata, prostrata jaceat, instar Gigantei cadaveris corrupti atque undique exesi."

[See _De Fortunae Varietate_, ap. _Nov. Thes. Ant. Rom._, ap. Sallengre, i. 502.]

[425] [Compare Milton, _Sonnet_ xxii.--

" ... my noble task,
Of which all Europe talks from side to side."]

[mq] {365}
_Where Luxury might willingly be born_.
_And buried Learning looks forth into fresher morn_,--
[MS. M. erased.]

[426] [The wealth which permitted the Florentine nobility to indulge their taste for modern, that is, refined luxury was derived from success in trade. For example, Giovanni de' Medici (1360-1428), the father of Cosmo and great-grand-father of Lorenzo de' Medici, was a banker and Levantine merchant. As for the Renaissance, to say nothing of Petrarch of Florentine parentage, two of the greatest Italian scholars and humanists--Ficino, born A.D. 1430, and Poliziano, born 1454--were Florentines; and Poggio was born A.D. 1380, at Terra Nuova on Florentine soil.]

[mr] _There, too, the Goddess breathes in stone and fills_.--[MS. M.]

[427] [The statue of Venus de' Medici, which stands in the Tribune of the Uffizzi Gallery at Florence, is said to be a late Greek (first or second century B.C.) copy of an early reproduction, of the Cnidian Aphrodite, the work, perhaps, of one of his sons, Kephisodotos or Timarchos. (See _Histoire de la Sculpture Grecque_, par Maxime Collignon, Paris, 1897, ii. 641.) In a Catalogue Raissonne of _La Galerie de Florence_, 1804, in the editor's possession, which opens with an eloquent tribute to the enlightenment of the Medici, _la fameuse Venus_ is conspicuous by her absence. She had been deported to Paris by Napoleon, but when Lord Byron spent a day in Florence in April, 1817, and returned "drunk with Beauty" from the two galleries, the lovely lady, thanks to the much-abused "Powers," was once more in her proper shrine.]

[ms]
----_and we draw_
_As from a fountain of immortal hills_.--[MS. M. erased.]

[428] {366} [Byron's contempt for connoisseurs and dilettanti finds expression in _English Bards, etc._, lines 1027-1032, and, again, in _The Curse of Minerva_, lines 183, 184. The "stolen copy" of _The Curse_ was published in the _New Monthly Magazine_ (_Poetical Works_, 1898, i. 453) under the title of _The Malediction of Minerva; or, The Athenian Marble-Market_, a title (see line 7) which must have been invented by and not for Byron. He returns to the charge in _Don Juan_, Canto 11. stanza cxviii. lines 5-9--

" ... a statuary,
(A race of mere impostors, when all's done--
I've seen much finer women ripe and real,
Than all the nonsense of their stone ideal)."

Even while confessing the presence and power of "triumphal Art" in sculpture, one of "the two most artificial of the Arts" (see his letter to Murray, April 26, 1817), then first revealed to him at Florence, he took care that his enthusiasm should not be misunderstood. He had made bitter fun of the art-talk of collectors, and he was unrepentant, and, moreover, he was "not careful" to incur a charge of indifference to the fine arts in general. Among the "crowd" which found their place in his complex personality, there was "the barbarian," and there was "the philistine," and there was, too, the humourist who took a subtle pleasure in proclaiming himself "a plain man," puzzled by subtleties, and unable to catch the drift of spirits finer than his own.]

[429] {367}

[Greek: O)phthalmou\s e(stia~n]
"Atque oculos pascat uterque suos."
Ovid., _Amor_., lib. ii. [Eleg. 2, line 6].

[Compare, too, Lucretius, lib. i. lines 36-38--

"Atque ita, suspiciens tereti cervice reposta,
Pascit amore avidos, inhians in te, Dea, visus;
Eque tuo pendet resupini spiritus ore;"

and _Measure for Measure_, act ii. sc. 2, line 179--

"And feast upon her eyes."]

[mt] {368} _Glowing and all-diffused_----.--[MS. M. erased.]

[430] [As the immortals, for love's sake, divest themselves of their godhead, so do mortals, in the ecstasy of passion, recognize in the object of their love the incarnate presence of deity. Love, like music, can raise a "mortal to the skies" and "bring an angel down." In this stanza there is, perhaps, an intentional obscurity in the confusion of ideas, which are "thrown out" for the reader to shape for himself as he will or can.]

[mu] ----_and our Fate_----[MS. M.]

[431] {369} ["The church of Santa Croce contains much illustrious nothing. The tombs of Macchiavelli, Michael Angelo, Galileo Galilei, and Alfieri make it the Westminster Abbey of Italy" (Letter to Murray, April 26, 1817). Michael Angelo, Alfieri, and Macchiavelli are buried in the south aisle of the church; Galileo, who was first buried within the convent, now rests with his favourite pupil, Vincenzo Viviani, in a vault in the south aisle. Canova's monument to Alfieri was erected at the expense of his so-called widow, Louise, born von Stolberg, and (1772-78) consort of Prince Charles Edward.]

[432] [Vittorio Alfieri (1749-1803) is one of numerous real and ideal personages with whom, as he tells us (_Life_, p. 644), Byron was wont to be compared. Moore perceives and dwells on the resemblance. A passage in Alfieri's autobiography (_La Vie de V. A. ecrite par Lui-meme_, Paris, 1809, p. 17) may have suggested the parallel--

"Voici une esquisse du caractere que je manifestais dans les
premieres annees de ma raison naissante. Taciturne et tranquille
pour l'ordinaire, mais quelquefois extremement petulant et
babillard, presque toujours dans les extremes, obstine et rebelle a
la force, fort soumis aux avis qu'on me donnait avec amitie,
contenu plutot par la crainte d'etre gronde que par toute autre
chose, d'une timidite excessive, et inflexible quand on voulait me
prendre a rebours."

The resemblance, as Byron admits, "related merely to our apparent personal dispositions." Both were noble, both were poets, both were "patrician republicans," and both were lovers of pleasure as well as lovers and students of literature; but their works do not provoke comparison. "The quality of 'a narrow elevation' which [Matthew] Arnold finds in Alfieri," is not characteristic of the author of _Childe Harold_ and _Don Juan_.

Of this stanza, however, Alfieri's fine sonnet to Florence may have been the inspiration. I have Dr. Garnett's permission to cite the following lines of his admirable translation (_Italian Literature_, 1898, p. 321):--

"Was Angelo born here? and he who wove
Love's charm with sorcery of Tuscan tongue,
Indissolubly blent? and he whose song
Laid bare the world below to world above?
And he who from the lonely valley clove
The azure height and trod the stars among?
And he whose searching mind the monarch's wrong,
Fount of the people's misery did prove?"]

[mv] {370} _Might furnish forth a Universe_----.--[MS. M.]

[mw]
_And ruin of thy beauty, shall deny_
_And hath denied, to every other sky_
_Spirits that soar like thine; from thy decay_
{_Still springs some son of the Divinity_}
{_Still springs some work of the Divinity_}--[D.]
_And gilds thy ruins with reviving ray_--
_And what these were of yore--Canova is to-day_.--[MS. M.]

[433] [Compare "Lines on the Bust of Helen by Canova," which were sent in a letter to Murray, November 25, 1816--

"In this beloved marble view,
Above the works and thoughts of man,
What nature _could_, but _would not_, do,
And Beauty and Canova can."

In _Beppo_ (stanza xlvi.), which was written in October, 1817, there is a further allusion to the genius of Canova.]

[mx] {371} _Their great Contemporary_----.--[MS. M. erased.]

[434] [Dante died at Ravenna, September 14, 1321, and was buried in the Church of S. Francesco. His remains were afterwards transferred to a mausoleum in the friars' cemetery, on the north side of the church, which was raised to his memory by his friend and patron, Guido da Polenta. The mausoleum was restored more than once, and rebuilt in its present form in 1780, at the cost of Cardinal Luigi Valenti Gonzaga. On the occasion of Dante's sexcentenary, in 1865, it was discovered that at some unknown period the skeleton, with the exception of a few small bones which remained in an urn which formed part of Gonzaga's structure, had been placed for safety in a wooden box, and enclosed in a wall of the old Braccioforte Chapel, which lies outside the church towards the Piazza. "The bones found in the wooden box were placed in the mausoleum with great pomp and exultation, the poet being now considered the symbol of a united Italy. The wooden box itself has been removed to the public library."--_Handbook far Northern Italy_, p. 539, note.

The house which Byron occupied during his first visit to Ravenna--June 8 to August 9, 1819--is close to the Cappella Braccioforte. In January, 1820, when he wrote the Fourth Canto of _Don Juan_ ("I pass each day where Dante's bones are laid," stanza civ.), he was occupying a suite of apartments in the Palazzo Guiccioli, No. 328 in the Via di Porta Adriana. Compare Rogers's _Italy_, "Bologna," _Poems_, ii. 118--

"Ravenna! where from Dante's sacred tomb
He had so oft, as many a verse declares,
Drawn inspiration."]

[435] [The story is told in Livy, lib. xxxviii. cap. 53. "Thenceforth no more was heard of Africanus. He passed his days at Liternum [on the shore of Campania], without thought or regret of Rome. Folk say that when he came to die he gave orders that he should be buried on the spot, and that there, and not at Rome, a monument should be raised over his sepulchre. His country had been ungrateful--no Roman funeral for him." It is said that his sepulchre bore the inscription: "Ingrata patria, cineres meos non habebis." According to another tradition, he was buried with his family at the Porta Capena, by the Caelian Hill.]

[436] [Compare Lucan, _Pharsalia_, i. I--"Bella per Emathios plusquam civilia campos."]

[437] [Petrarch's _Africa_ brought him on the same day (August 23, 1340) offers of the laurel wreath of poetry from the University of Paris and from the Senate of Rome. He chose in favour of Rome, and was crowned on the Capitol, Easter Day, April 8, 1341. "The poet appeared in a royal mantle ... preceded by twelve noble Roman youths clad in scarlet, and the heralds and trumpeters of the Roman Senate."--_Petrarch_, by Henry Reeve, p. 92.]

[438] {372} [Tomasini, in the _Petrarca Redivivus_ (pp. 168-172, ed. 1650), assigns the outrage to a party of Venetians who "broke open Petrarch's tomb, in 1630, and took away some of his bones, probably with the object of selling them." Hobhouse, in _note_ ix., says, "that one of the arms was stolen by a Florentine," but does not quote his authority. (See the notes to H. F. Tozer's _Childe Harold_, p. 302.)]

[439] [Giovanni Boccaccio was born at Paris (or Certaldo) in 1313, passed the greater part of his life at Florence, died and was buried at Certaldo, whence his family are said to have sprung, in 1375. His sepulchre, which stood in the centre of the Church of St. Michael and St. James, known as the Canonica, was removed in 1783, on the plea that a recent edict forbidding burial in churches applied to ancient interments. "The stone that covered the tomb was broken, and thrown aside as useless into the adjoining cloisters" (_Handbook for Central Italy_, p. 171). "Ignorance," pleads Hobhouse, "may share the crime with bigotry." But it is improbable that the "hyaena bigots," that is, the ecclesiastical authorities, were ignorant that Boccaccio was a bitter satirist of Churchmen, or that "he transferred the functions and histories of Hebrew prophets and prophetesses, and of Christian saints and apostles, nay, the highest mysteries and most awful objects of Christian Faith, to the names and drapery of Greek and Roman mythology."--(Unpublished MS. note of S. T. Coleridge, written in his copy of Boccaccio's _Opere_, 4 vols. 1723.) They had their revenge on Boccaccio, and Byron has had his revenge on them.]

[my]
_Boccaccio to his parent earth, bequeathed_
_The dust derived from thence--doth it not lie_
_With many a sweet and solemn requiem breathed_
_O'er him who formed the tongue of Italy_
_That music in itself whose harmony_
_Asks for no tune to make it song; No--torn_
_From earth--and scattered while the silent sky_
_Hushed its indignant Winds--with quiet scorn_
_The Hyaena bigots thus forbade a World to mourn_.--
[D. erased.]

[440] {374} [Compare _Beppo_, stanza xliv.--

"I love the language, that soft bastard Latin,
Which melts like kisses from a female mouth,
And sounds as if it should be writ on satin,
With syllables which breathe of the sweet South."

Compare, too, the first sentence of a letter which Byron wrote "on a blank leaf of the volume of 'Corinne,'" which Teresa [Guiccioli] left in forgetfulness in a garden in Bologna: "Amor Mio,--How sweet is this word in your Italian language!" (_Life of Lord Byron_, by Emilio Castelar, P. 145).]

[441] [By "Caesar's pageant" Byron means the pageant decreed by Tiberius Caesar. Compare _Don Juan_, Canto XV. stanza xlix.--

"And this omission, like that of the bust
Of Brutus at the pageant of Tiberius."

At the public funeral of Junia, wife of Cassius and sister of Brutus, A.D. 22, the busts of her husband and brother were not allowed to be carried in the procession, because they had taken part in the assassination of Julius Caesar. But none the less, "Praefulgebant Brutus et Cassius eo ipso quod effigies eorum non videbantur" (Tacitus, _Ann._, iii. 76). Their glory was conspicuous in men's minds, because their images were withheld from men's eyes. As Tacitus says elsewhere (iv. 26), "Negatus honor gloriam intendit."]

[mz] {375} _Shelter of exiled Empire_----.--[MS. M. erased.]

[442] [The inscription on Ricci's monument to Dante, in the Church of Santa Croce--"A majoribus ter frustra decretum" --refers to the vain attempts which Florence had made to recover the remains of her exiled and once-neglected poet.]

[443] ["I also went to the Medici chapel--fine frippery in great slabs of various expensive stones, to commemorate fifty rotten and forgotten carcasses. It is unfinished, and will remain so" (Letter to Murray, April 26, 1817). The bodies of the grand-dukes lie in the crypt of the Cappella dei Principi, or Medicean Chapel, which forms part of the Church of San Lorenzo. The walls of the chapel are encrusted with rich marbles and "stones of price, to garniture the edifice." The monuments to Giuliano and Lorenzo de' Medici, son and grandson of Lorenzo the Magnificent, with Michael Angelo's allegorical figures of Night and Morning, Aurora and Twilight, are in the adjoining Cappella dei Depositi, or Sagrestia Nuova.]

[444] {376} [The Duomo, crowned with Brunelleschi's cupola, and rich in sculpture and stained glass, is, as it were, a symbol of Florence, the shrine of art. Browning, in his inspired vision of St. Peter's at Rome in _Christmas Eve_, catches Byron's note to sound a loftier strain--

"Is it really on the earth
This miraculous dome of God?"

"It is somewhere mentioned that Michael Angelo, when he set out from Florence to build the dome of St. Peter's, turned his horse round in the road to contemplate that of the cathedral, as it rose in the grey of the morning from among the pines and cypresses of the city, and that he said, after a pause, 'Come te non voglio! Meglio di te non posso.' He never, indeed, spoke of it but with admiration; and, if we may believe tradition, his tomb, by his own desire, was to be so placed in the Santa Croce as that from it might be seen, when the doors of the church stood open, that noble work of Brunelleschi."--Rogers's _Italy: Poems_, ii. 315, note to p. 133, line 5--"Beautiful Florence."]

[445] {377} [Byron, contrary to traditional use (see Wordsworth's sonnet, "Near the Lake of Thrasymene;" and Rogers's _Italy_, see note, p. 378), sounds the final vowel in Thrasym[=e]ne. The Greek, Latin, and Italian equivalents bear him out; but, most probably, he gave Thrasymene and himself an extra syllable "vel metri vel euphoniae causa."]

[na] _Where Courage perished in unyielding files_.--[MS. M.]

[446] ["Tantusque fuit ardor armorum, adeo intentus pugnae animus, ut eum motum terrae, qui multarum urbium Italiae magnas partes, prostravit, avertitque cursu rapidos amnes, marce fluminibus invexit, montes lapsu ingenti proruit, nemo pugnantium senserit" (Livy, xxii. 5). Polybius says nothing about an earthquake; and Ihne (_Hist, of Rome_, ii. 207-210) is also silent; but Pliny (_Hist. Nat._, ii. 84) and Coelius Antipater (ap. Cic., _De Div._, i. 35), who wrote his _Annales_ about a century after the battle of Lake Thrasymenus (B.C. 217), synchronize the earthquake and the battle. Compare, too, Rogers's _Italy_, "The Pilgrim:" _Poems_, 1852, ii. 152--

"From the Thrasymene, that now
Slept in the sun, a lake of molten gold,
And from the shore that once, when armies met,
Rocked to and fro unfelt, so terrible
The rage, the slaughter, I had turned away."

Compare, too, Wordsworth's sonnet (No. xii.), "Near the Lake of Thrasymene" (_Works_, 1888, p. 756)--

"When here with Carthage Rome to conflict came,
An earthquake, mingling with the battle's shock,
Checked not its rage; unfelt the ground did rock,
Sword dropped not, javelin kept its deadly aim,--
Now all is sun-bright peace."]

[nb]
_Fly to the clouds for refuge and withdraw_
_From their unsteady nests_----.--[MS. M.]

[nc] {379} _Made fat the earth_----.--[MS. M. erased]

[447] No book of travels has omitted to expatiate on the temple of the Clitumnus, between Foligno and Spoleto; and no site, or scenery, even in Italy, is more worthy a description. For an account of the dilapidation of this temple, the reader is referred to _Historical Illustrations of the Fourth Canto of Childe Harold_, p. 35.

[448] [Compare Virgil, _Georg_., ii. 146--

"Hinc albi, Clitumne, greges et maxuma taurus
Victima, saepe tuo perfusi flumine sacro."

The waters of certain rivers were supposed to possess the quality of making the cattle which drank from them white. (See Pliny, _Hist. Nat._, ii. 103; and compare Silius Italicus, _Pun._, iv. 545, 546--

" ...et patulis Clitumnus in arvis
Candentes gelido perfundit flumine tauros.")

For a charming description of Clitumnus, see Pliny's letter "Romano Suo," _Epist._, viii. 8: "At the foot of a little hill covered with old and shady cypress trees, gushes out a spring, which bursts out into a number of streamlets, all of different sizes. Having struggled, so to speak, out of its confinement, it opens out into a broad basin, so clear and transparent, that you may count the pebbles and little pieces of money which are thrown into it.... The banks are clothed with an abundance of ash and poplar, which are so distinctly reflected in the clear water that they seem to be growing at the bottom of the river, and can easily be counted.... Near it stands an ancient and venerable temple, in which is a statue of the river-god Clitumnus."--_Pliny's Letters_, by the Rev. A. Church and the Rev. W. J. Brodribb, 1872, p. 127.]

[449] {380} [The existing temple, now used as a chapel (St. Salvatore), can hardly be Pliny's _templum priscum_. Hobhouse, in his _Historical Illustrations_, pp. 37-41, defends the antiquity of the "facade, which consists of a pediment supported by four columns and two Corinthian piers, two of the columns with spiral fluting, the others covered with fish-scaled carvings" (_Handbook for Central Italy_, p. 289); but in the opinion of modern archaeologists the whole of the structure belongs to the fourth or fifth century of the Christian era. It is, of course, possible, indeed probable, that ancient materials were used when the building was reconstructed. Pliny says the "numerous chapels" dedicated to other deities were scattered round the shrine of Clitumnus.]

[nd] _Upon a green declivity_----.--[MS. M.]

[450] {381} ["On my way back [from Rome], close to the temple by its banks, I got some famous trout out of the river Clitumnus, the prettiest little stream in all poesy."--Letter to Murray, June 4, 1817.]

[ne] _There is a course where Lovers' evening tales_.--[MS. M. erased.]

[451] [By "disgust," a prosaic word which seems to mar a fine stanza, Byron does not mean "distaste," aversion from the nauseous, but "tastelessness," the inability to enjoy taste. Compare the French "Avoir du degout pour la vie," "To be out of conceit with life." Byron was "a lover of Nature," but it was seldom that he felt her "healing power," or was able to lose himself in his surroundings. But now, for the moment, he experiences that sudden uplifting of the spirit in the presence of natural beauty which brings back "the splendour in the grass, the glory in the flower!"]

[nf] {382} _Making it as an emerald_----.--[D.]

[ng] _Leaps on from rock to rock--with mighty bound_.--[MS. M.]

[452] {383} I saw the Cascata del Marmore of Terni twice, at different periods--once from the summit of the precipice, and again from the valley below. The lower view is far to be preferred, if the traveller has time for one only; but in any point of view, either from above or below, it is worth all the cascades and torrents of Switzerland put together: the Staubach, Reichenbach, Pisse Vache, fall of Arpenaz, etc., are rills in comparative appearance. Of the fall of Schaffhausen I cannot speak, not yet having seen it.

[The Falls of Reichenbach are at Rosenlaui, between Grindelwald and Meiringen; the Salanfe or Pisse-Vache descends into the valley of the Rhone near Martigny; the Nant d'Arpenaz falls into the Arve near Magland, on the road between Cluses and Sallanches.]

[453] Of the time, place, and qualities of this kind of iris, the reader will see a short account, in a note to _Manfred_.[Sec.1] The fall looks so much like "the Hell of waters," that Addison thought the descent alluded to by the gulf in which Alecto[Sec.2] plunged into the infernal regions. It is singular enough, that two of the finest cascades in Europe should be artificial--this of the Velino, and the one at Tivoli. The traveller is strongly recommended to trace the Velino, at least as high as the little lake called _Pie' di Lup_. The Reatine territory was the Italian Tempe (Cicer., _Epist. ad Attic._, lib. iv. 15), and the ancient naturalists ["In lacu Velino nullo non die apparere arcus"] (Plin., _Hist. Nat._, lib. ii. cap. lxii.), amongst other beautiful varieties, remarked the daily rainbows of the lake Velinus. A scholar of great name has devoted a treatise to this district alone. See Ald. Manut., _De Reatina Urb Agroque_, ap. Sallengre, _Nov. Thes. Ant. Rom._, 1735, tom. i. p.773, _sq._

[The "Falls of the Anio," which passed over a wall built by Sixtus V., and plunged into the Grotto of Neptune, were greatly diminished in volume after an inundation which took place in 1826. The New Falls were formed in 1834.]

[[Sec.1] _Manfred_, act ii. sc. 1, note. This Iris is formed by the rays of the sun on the lower part of the Alpine torrents; it is exactly like a rainbow come down to pay a visit, and so close that you may walk into it: this effect lasts till noon.]

[[Sec.2] "This is the gulf through which Virgil's Alecto shoots herself into hell; for the very place, the great reputation of it, the fall of waters, the woods that encompass it, with the smoke and noise that arise from it, are all pointed at in the description ...

"'Est locus Italiae ...
... densis hunc frondibus atrum
Urguet utrimque latus nemoris, medioque fragosus
Dat sonitum saxis et torto vertice torrens.
Hic specus horrendum et saevi spiracula Ditis
Monstrantur, ruptoque ingens Acheronte vorago
Pestiferas aperit fauces.'
_AEneid_, vii. 563-570.

It was indeed the most proper place in the world for a Fury to make her exit ... and I believe every reader's imagination is pleased when he sees the angry Goddess thus sinking, as it were, in a tempest, and plunging herself into Hell, amidst such a scene of horror and confusion."--_Remarks on several Parts of Italy_, by Joseph Addison, Esq., 1761, pp. 100. 101.

[nh] {385}

_Dares not ascend the summit_----
or, _Clothes a more rocky summit_----.--[MS. M. erased.]

[454] In the greater part of Switzerland, the avalanches are known by the name of lauwine.

[Byron is again at fault with his German. "Lawine" (see Schiller, _Wilhelm Tell_, act iii. sc. 3) signifies an avalanche, not avalanches. In stanza xii. line 7 a similar mistake occurs. It may seem strange that, for the sake of local colouring, or for metrical purposes, he should substitute a foreign equivalent which required a note, for a fine word already in vogue. But in 1817 "avalanche" itself had not long been naturalized. Fifty years before, the Italian _valanca_ and _valanche_ had found their way into books of travel, but "avalanche" appears first (see _N. Eng. Dict._, art. "Avalanche") in 1789, in Coxe's _Trav. Switz._, xxxviii. ii. 3, and in poetry, perhaps, in Wordsworth's _Descriptive Sketches_, which were written in 1791-2. Like "canon" and "veldt" in our own day, it might be regarded as on probation. But the fittest has survived, and Byron's unlovely and misbegotten "lauwine" has died a natural death.]

[ni] _But I have seen the virgin Jungfrau rear_.--[D.]

[455] {386} These stanzas may probably remind the reader of Ensign Northerton's remarks, "D--n Homo," etc.;[Sec.] but the reasons for our dislike are not exactly the same. I wish to express, that we become tired of the task before we can comprehend the beauty; that we learn by rote before we can get by heart; that the freshness is worn away, and the future pleasure and advantage deadened and destroyed, by the didactic anticipation, at an age when we can neither feel nor understand the power of compositions which it requires an acquaintance with life, as well as Latin and Greek, to relish, or to reason upon. For the same reason, we never can be aware of the fulness of some of the finest passages of Shakspeare ("To be or not to be," for instance), from the habit of having them hammered into us at eight years old, as an exercise, not of mind, but of memory: so that when we are old enough to enjoy them, the taste is gone, and the appetite palled. In some parts of the continent, young persons are taught from more common authors, and do not read the best classics till their maturity. I certainly do not speak on this point from any pique or aversion towards the place of my education. I was not a slow, though an idle boy; and I believe no one could, or can be, more attached to Harrow than I have always been, and with reason;--a part of the time passed there was the happiest of my life; and my preceptor, the Rev. Dr. Joseph Drury, was the best and worthiest friend I ever possessed, whose warnings I have remembered but too well, though too late when I have erred,--and whose counsels I have but followed when I have done well or wisely. If ever this imperfect record of my feelings towards him should reach his eyes, let it remind him of one who never thinks of him but with gratitude and veneration--of one who would more gladly boast of having been his pupil, if, by more closely following his injunctions, he could reflect any honour upon his instructor.

[[Sec.] "'Don't pretend to more ignorance than you have, Mr. Northerton; I suppose you have heard of the Greeks and Trojans, though, perhaps, you have never read Pope's Homer.'--'D--n Homer with all my heart,' says Northerton: 'I have the marks of him ... yet. There's Thomas of our regiment always carries a Homo in his pocket.'"--_The History of Tom Jones_, by H. Fielding, vii. 12.]

[456] [The construction is somewhat involved, but the meaning is obvious. As a schoolboy, the Horatian Muse could not tempt him to take the trouble to construe Horace; and, even now, Soracte brings back unwelcome memories of "confinement's lingering hour," say, "3 quarters of an hour past 3 o'clock in the afternoon, 3rd school" (see _Life_, p. 28). Moore says that the "interlined translations" on Byron's school-books are "a proof of the narrow extent of his classical attainments." He must soon have made up for lost time, and "conquered for the poet's sake," as numerous poetical translations from the classics, including the episode of Nisus and Euryalus, evidently a labour of love, testify. Nor, too, does the trouble he took and the pride he felt in _Hints from Horace_ correspond with this profession of invincible distaste.]

[nj] {388} _My mind to analyse_----.--[MS. M.]

[nk] _Yet such the inveterate impression_----.--[MS. M. erased.]

[nl] ----_but what it then abhorred must still abhor_.--[MS. M.]

[nm] {389} ----_in her tearless woe_.--[MS. M.]

[457] [The tomb of the Scipios, by the Porta Latina, was discovered by the brothers Sassi, in May, 1780. It consists of "several chambers excavated in the tufa." One of the larger chambers contained the famous sarcophagus of L. Scipio Barbatus, the great-grandfather of Scipio Africanus, which is now in the Vatican in the Atrio Quadrate. When the sarcophagus was opened, in 1780, the skeleton was found to be entire. The bones were collected and removed by Angelo Quirini to his villa at Padua. The chambers contained numerous inscriptions, which were detached and removed to the Vatican. Hobhouse (_Hist. Illust_., pp. 169-171) is at pains to point out that the discovery of 1780 confirmed the authenticity of an inscription to Lucius, son of Barbatus Scipio, which had been brought to light in 1615, and rejected by the Roman antiquaries as a forgery. He prints two of the inscriptions (_Handbook for Rome_, pp. 278, 350, 351, ed. 1899).]

[458] [The sepulchres were rifled, says Hobhouse (_ibid_., p. 173), "either to procure the necessary relics for churches dedicated to Christian saints or martyrs, or" (a likelier hypothesis) "with the expectation of finding the ornaments ... buried with the dead. The sarcophagi were sometimes transported from their site and emptied for the reception of purer ashes." He instances those of Innocent II. and Clement XII., "which were certainly constructed for heathen tenants."]

[459] {390} [The reference is to the historical inundations of the Tiber, of which a hundred and thirty-two have been recorded from the foundation of the city down to December, 1870, when the river rose to fifty-six feet--thirty feet above its normal level.]

[460] [The Goths besieged and sacked Rome under Alaric, A.D. 410, and Totila, 546. Other barbarian invaders--Genseric, a Vandal, 455; Ricimer, a Sueve, 472; Vitiges, a Dalmatian, 537; Arnulph, a Lombard, 756--may come under the head of "Goth." "The Christian," "from motives of fanaticism"--Theodosius, for instance, in 426; and Stilicho, who burned the Sibylline books--despoiled, mutilated, and pulled down temples. Subsequently, popes, too numerous to mention, laid violent hands on the temples for purposes of repair, construction, and ornamentation of Christian churches. More than once ancient structures were converted into cannon-balls. There were, too, Christian invaders and sackers of Rome: Robert Guiscard (Hofmann calls him Wiscardus), in 1004; Frederic Barbarossa, in 1167; the Connetable de Bourbon, in 1527, may be instanced. "Time and War" speak for themselves. For "Flood," _vide supra_. As for "Fire," during the years 1082-84 the Emperor Henry IV. burnt "a great part of the Leonine city;" and Guiscard "burnt the town from the Flaminian gate to the Antonine column, and laid waste the Esquiline to the Lateran; thence he set fire to the region from that church to the Coliseum and the Capitol." Of earthquakes Byron says nothing; but there were earthquakes, e.g. in 422 and 1349. Another foe, a destroying angel who "wasteth at noonday," modern improvement, had not yet opened a seventh seal. (See _Historical Illustrations_, pp. 91-168.)]

[nn] {391} _She saw her glories one by one expire_.--[MS. M.]

[461] [Compare Macaulay's _Lays of Ancient Rome_, "Prophecy of Capys," stanza xxx.--

"Blest and thrice blest the Roman
Who sees Rome's brightest day,
Who sees that long victorious pomp
Wind down the Sacred Way,
And through the bellowing Forum,
And round the Suppliant's Grove,
Up to the everlasting gates
Of Capitolian Jove."]

[no] _The double night of Ruin_----.--[MS. M.]

[462] [The construction is harsh and puzzling. Apparently the subject of "hath wrapt" is the "double night of ages;" the subjects of "wrap," the "night of ages" and the "night of Ignorance;" but, even so, the sentence is ambiguous. Not less amazing is the confusion of metaphors. Rome is a "desert," through which we steer, mounted, presumably, on a camel--the "ship of the desert." Mistaken associations are, as it were, stumbling-blocks; and no sooner have we verified an association, discovered a ruined temple in the exact site which Livy's "pictured page" has assigned to it--a discovery as welcome to the antiquarian as water to the thirsty traveller--than our theory is upset, and we perceive that we have been deluded by a mirage.]

[463] {392} Orosius gives 320 for the number of triumphs [i.e. from Romulus to the double triumph of Vespasian and Titus (_Hist._, vii. 9)]. He is followed by Panvinius; and Panvinius by Mr. Gibbon and the modern writers.

[np]
_Alas, for Tully's voice, and Titus' sway_
_And Virgil's verse; the first and last must be_
_Her Resurrection_----.--[MS. M.]

[464] Certainly, were it not for these two traits in the life of Sylla, alluded to in this stanza, we should regard him as a monster unredeemed by any admirable quality. The _atonement_ of his voluntary resignation of empire may perhaps be accepted by us, as it seems to have satisfied the Romans, who if they had not respected must have destroyed him. There could be no mean, no division of opinion; they must have all thought, like Eucrates, that what had appeared ambition was a love of glory, and that what had been mistaken for pride was a real grandeur of soul.--("Seigneur, vous changez toutes mes idees, de la facon dont je vous vois agir. Je croyois que vous aviez de l'ambition, mais aucun amour pour la gloire; je voyois bien que votre ame etoit haute; mais je ne soupconnois pas qu'elle fut grande."--_Dialogue de Sylla et d'Eucrate_.) _Considerations ... de la Grandeur des Romains, etc._, Paris, 1795, ii. 219. By Charles de Secondat, Baron de Montesquieu.

[Stanza lxxxiii. indicates the following events in the life of Sulla. In B.C. 81 he assumed the name of Felix (or, according to Plutarch, Epaphroditus, Plut, _Vitae_, 1812, iv. 287), (line 1). Five years before this, B.C. 86, during the consulship of Marius and Cinna, his party had been overthrown, and his regulations annulled; but he declined to return to Italy until he had brought the war against Mithridates to a successful conclusion, B.C. 83 (lines 3-6). In B.C. 81 he was appointed dictator (line 7), and B.C. 79 he resigned his dictatorship and retired into private life (line 9).]

[nq] {394}
----_how supine_
_Into such dust deserted Rome should fade,_
or, _In self-woven sackcloth Rome should thus be laid_.--[MS. M. erased.]

[nr]
_The Earth beneath her shadow and displayed_
_Her wings as with the horizon and was hailed,_
or, _The rushings of his wings and was Almighty hailed_.--[MS. M. erased.]

[ns]
_Sylla supreme of Victors--save our own_
_The ablest of Usurpers--Cromwell--he_
_Who swept off Senates--while he hewed the Throne_
_Down to a block--immortal Villain! See_
_What crimes, etc_.--[MS. M.]

[465] On the 3rd of September Cromwell gained the victory of Dunbar [1650]; a year afterwards he obtained "his crowning mercy" of Worcester [1651]; and a few years after [1658], on the same day, which he had ever esteemed the most fortunate for him, died.

[466] {395} [The statue of Pompey in the Sala dell' Udinanza of the Palazzo Spada is no doubt a portrait, and belongs to the close of the Republican period. It cannot, however, with any certainty be identified with the statue in the Curia, at whose base "great Caesar fell." (See _Antike Bildwerke in Rom._, F. Matz, F. von Duhn, i. 309.)]