In the autumn he somewhat recovered, and wishing to continue the improvement, he avoided the cold of Florence by wintering at Pisa. Florence, as a residence, he did not like, but with Pisa he was enchanted. The improvement, however, was but slight, and his nerves were in such a weak state that any sort of application or study was out of the question. In April, 1828, he was able to apply himself again to composition, and he seemed to be reviving, when the death of his brother Luigi afflicted him profoundly. From June to November he was again at Florence, but his yearning for home made itself felt after the recent bereavement. He started on the 12th of November for Recanati in the company of a young man afterwards known to fame as Vincenzo Gioberti. He found his birthplace darkened by the shadow of death, which seemed to him the herald of his own. His former gloom returned, but in a more terrible shape; he saw only annihilation before him; and he took the last glance of life in his superb _Ricordanze,_ the most richly coloured, the most deeply pathetic, the most unfathomably profound of all his poems. In 1830, his Florentine friends, wishing to have him once more in their midst, urged his return to their city. Accordingly, in May he took leave of his family, little thinking he should never see them again. It would be curious to enquire what made him so wretched when at home, and yet, when absent, always longing to be there. His brother Carlo said many years later to Prospero Viani, the editor of his correspondence, that none of his poems written elsewhere had the beauty of those composed at Recanati; and when Viani mentioned the _Ginestra,_ Carlo replied that in substance even the _Ginestra_ was conceived at Recanati. Some biographers say the _Risorgimento_ was written at Pisa; but Ranieri, who was probably well-informed, says it was written at Recanati, and this assertion is, I think, borne out by internal evidence. The _Canto Notturno_ seems also to have been written in his birthplace. Thus, Carlo's statement would be correct. It is observable that the poems subsequent to the _Canto Notturno,_ with the exception of _Aspasia_ and the little poem _To Himself,_ have an air of languor, foreign to his earlier productions. This languor is perceptible even in the sublime _Ginestra,_ and it is not absent from passages of the _Pensiero Dominante, Amore e Morte,_ and the long, mock-heroic _Paralipomeni._ The repose, sepulchral as it may have seemed to him, of Recanati, and the exquisite beauty of its scenery, bordered in the distance by the blue waters of the Adriatic, were conducive to the exercise of the imagination. Nor must we forget that he spoke of other places (except Pisa and Bologna) with equal bitterness. The climate seems really to have worked havoc on his delicate frame. He allowed its inhabitants only one merit, that of speaking Italian with purity and elegance.