The Italian spirit of hatred to the German has exhibited itself in a thousand forms for a thousand years. It has murmured, conspired, and made vows of vengeance, since the days of Charlemagne. It has sentenced the "Teuton" in remorseless sonnets, has fought him in sinfonias, and slaughtered him in ballets and burlesques. But the German returned, chained the poets to the wall of a cell, and sent the writers to row in the galleys. For the last hundred years, Italy has implored all the furies in operas, and paid homage to Nemesis by the help of the orchestra--all in vain. At length, the French Revolution, by sweeping the Austrian armies out of Italy, gave the chance of realising the long dream. The "Cisalpine Republic" flourished on paper, and every Italian talked of Brutus, and the revival of the Consulate, and the Capitol. But the French price of liberty was too high for Italian purchase; the liberators robbed the liberated of every coin in their possession, and shot them when they refused to give it up. Even the "Teuton" was welcome, after this experience of the Gaul; and Italy found the advantage of a government which, though it exhibited neither triumphal chariots nor civic festivities, yet suffered the land to give its harvests to the right owners. But even this feeling was to have a new temptation. About fifteen years ago, one of the chaplains of the King of Sardinia was struck off the court list, for uttering opinions which, touched with the old romance of Italian liberation, struck the whole court of Turin with horror. Charles Albert was then at the head of the Jesuits, and the Jesuits demanded the criminal Gioberti. Italy was no longer safe for him: he fled across the Alps, and took refuge in Belgium. There he wrote, through necessity. But he had something to revenge, and he wrote with the vigour of revenge. But he was an enthusiast, and he indulged in the reveries of enthusiasm. The double charm was irresistible to the dreamy spirit of a nation which loves to imagine impossible retribution, and achieve heroism in the clouds. His writings crossed the Alps. No obstacle could stop them; they wound their way through _douanes_; they insinuated themselves through the backstairs of palaces; they even penetrated into the cells of monks;--and his treatise "Del Primato Civile e Morale degl' Italiani," which appeared in 1843, was hailed with universal rapture. The literature of modern Italy seldom rises into that region of publicity which carries a work beyond seas and mountains. She has not yet attained the great art of common sense--the only art which furnishes the works of man with wings. Her poetry is local and trifling: her prose is loose, feeble, and rambling. Her best writers seem to the European eye what the wanderers through Soirees and Conversaziones are to the well-informed ear,--men of words living on borrowed notions, and, after the first half-dozen sentences, intolerably tiresome.