Besides the poems above mentioned, Monti wrote several other poems in praise of the conqueror. "The Jerogamia" and the "Api Panacridi" were compositions which, whatever their apparent subject might be, turned, after all, on the praise of the emperor. They maintained, if they did not increase, the poet's fame. His best works were already written; and these may be named to be the "Aristodemo," the "Basvilliana," passages in the "Prometèo," the "Mascheroniana," and the "Palingenesi" and of his shorter odes, that to Bonaparte, on occasion of the Cisalpine congress, and his hymn on his return to Italy. Years began to tame the fire of his imagination, and he felt the spirit of original composition fail him. His active mind turned to other subjects on which to exercise it: his love of classical learning led him to works of criticism and erudition, and he wrote "Remarks on the Winged Horse of Arsinoe." A want of knowledge of the Greek language must, however, have been a great drawback to this species of study; but we must regard with still greater wonder, considering this defect, his next enterprise, which was the translation of the Iliad. He had been looking out for a subject, and meditating in what way he could employ his powers, when a word, spoken by chance by Ugo Foscolo, at once awoke in his mind the desire and the energy requisite for so arduous a task. Not being acquainted with Greek, he applied himself to every kind of literal translation, and was, besides, mainly assisted by his friend Mustoxidi, who explained passages, compared his version with the original, and bestowed a degree of labour which, barren as it was of reputation to himself, must be regarded as a singular proof of disinterested attachment. Monti applied himself so vigorously to the task, that, in spite of all his disadvantages, in less than two years he brought it to a conclusion. This new labour yielded him a large harvest of reputation. Other Italian translations of the Iliad already existed: that of Salvini is valuable, from his profound knowledge of the Greek and Italian languages. It is elegantly and faithfully translated, but it wants spirit; and the sublime Homeric fire, which renders the Iliad the greatest of human works, glimmers feebly in his version. The translation of Ceruti is as faithful as is compatible with his ignorance of Greek; but, besides the want of the true spirit of the original, his style, modelled on that of Metastasio and Rolli, wants vigour and versatility.