During the present (19th) century, the genius of Italy has revived anew in science and literature. By the hest writers of the day, a sound Italian style, untainted either by Gallicisms or by the false glitter of the Seteentisti school, has la en adopted. One of the best modern poets of the classical school, Vincenzo Monti, has materially assisted this literary reform: the resolute combatant of the school of Marini, his fine works are rigidly molded on the pure Treeentisti style; and in his great poem, Dosaillianct, the language is impregnated with a Dantesque grandeur, which has caused it to lie said that the spirit of Dante has inspired the works of Monti. Ills translation of the Iliad and that of the Odyssey by Pindemonte are the best classical translations in Italian. In the wayward and fervid genius of Ugo Foscolo (q.v.), we find the reflection of the vicissi tudes and political chaos of his times; his lyrical work, I Sepolerti, is written with extreme polish and faultless taste, which may also lie said of the lyrics of Leopardi. Botta, Ricci, Bagnoli, Arici Sestini, Pananti, and Lorenzi deserve mentam among the modern poets. Grossi is a spirited poet, who has written chiefly in the Milanese dialect. In the poignant and imbittcred verses of Berchet, we recognize the double inspiration of his-country's and his own political sufferings: and the gentler poet, Silvio Pellico, was already famous for his poetic tragedy, Iii•aneesea da previous to his incar ceration in an Austrian dungeon.
Rossetti, the exile and poet, and the most distinguished commentator on Dante's Diana Coinmedia; Giov. Battista Niccolini, whose drama, AP/wit(.' do Brescia, is one of the finest works of modern Italian genius; Leopardi, poet, philologist., and philosopher; Giusti (q.v.), the first Italian satirical lyrist of the 19th c.; _M•ineli, the patriot poet, who fell in 1848 at Rome: Prati, Aleardi, Dalt' Ongaro, Ca•eano. and Montanelli arc some of the most conspicuous worshipers of muse in the 19th century. Among the most successful novelists are Manzoni, whose Promessi Sposi has created a new school of fiction; Rosini (Monaca di Monza, Luisa Sfrozzi, it Conte 1,rgullio), Cantfi (.31argIterita di Pusterla), Grossi (Jlore° Visconti), and D'Azoglio, whose patrit Ce novels have exercised a wide influence on the youth of the country. Ettore Fierom :sea and Nicol° del Lapi are models of classical romances. Guerrazzi has written novels full of the noblest poetry. Bersezio and Ruflini are also worthy of notice. And among author
esses we may mention Teresa Bandinella, Cecilia de Luna Folliero, Guist inn Michiel, Isabella Albrizzi (whose biography of Canova is a graceful and accurate delineation), and Signora Ferrucci, whose educational works possess high merit. The modern histo rians of Italy are very numerous. BMW's Summary of Italian History, Botta's History, of Italy, Colette's Naples, Amari's Sicilian VIASTCPS, Canon's colossal work On Unire-rsal history, Zeni's Compendium of Italy's history, and Scopoli's History of Bann Lcgislation, arc among the best works; while interesting historical monographs of various periods or states have been published by Canetti, Canale, Brofferio, Anelli, Cattaneo, the• graphic recorder of the rising at Milan in 1848, and the learned compiler of the Arehirio Triemiale, or series of documents bearing on Italian modern history from 1848 to 1850. Political economy and philosophy have found in Mazzini, Gioja, and Roma,gnosi able exponents. The political writings of Joseph Mazzini (q.v.), apart from their political tendenci:s, have exercised immense influence on the youth of Italy by their high moral tone and beauty of language. The various schools of philosophy have found adherents and expounders in Borelli, Galuppi (1770-1846), Ma.miani, Rosmini, Gioberti, and Tonimaseo, mostly all exponents of ecclesiastical philosophy; while Testa, Fr:lucid, Mastriani, and Cattanoo are the exponents of speculative and independent philosophy. Antiquarian and archaeological science has been ably illustrated by Inghirami, Fammeci, Manno, Litta, Visconti, and Sestini. Bossi, Fumigalli, Ferrari°, and Rosini have written the best dissertations on art. Biography, which as yet has been somewhat neglected by Italian writers, has found in prof. Villari a successful cultivator; his Life of Savonarola is written with liberality, grace, and eloquence. The most complete histories of Italian literature are Crescimbem, Storia delft Volume Bksia, 6 vols. (Rome. 169S: Venice, 1731); Quadri°, Storia e Regione Poesia, 7 vols. (Bologna, 1739): Tirabosehi, Storia dei?rt .T,etteratura Italiana, 14 vols. (Modena, 1772-83; 16 vols. 1787-94; 12 vols. Rome, 1785; 16 vols. Milan, 1822-26); Corniani, Seeoli della Letteratura Italiana, 9 vols.
(Brescia, 1818-19);'Maffei, Scoria della Letteratura Indiana (2d ed., 1834); Giudici (1847); ile Sanctis (1871); and Storia letteruria seritta da una secietd di amid (Milan, 1870-77).