Another follower of the school of Alfieri is Ugo Foscolo (1778-1827), one of the greatest writers of this age, in whom inspiration was derived from a lofty patriotism. At the time of the French revolution he joined the Italian army, with the object of restoring independence to his country. Disappointed in this hope, he left Italy for England, where he distinguished himself by his writings. The best of his tragedies, "Ricciarda," is founded on events supposed to have occurred in the Middle Ages. While some of its scenes and situations are forced and unnatural, some of the acts are wrought with consummate skill and effect, and the conception of the characters is tragic and original. Foscolo adopts in his tragedies a concise and pregnant style, and displays great mastery over his native language. Marenco (d. 1846) is distinguished for the noble and moral ideas, lofty images, and affections of his tragedies; but he lacks unity of design and vigor of style. Silvio Pellico (1789-1854) was born in Piedmont. As a writer he is best known as the author of "My Prisons," a narrative full of simplicity and resignation, in which he relates his sufferings during ten years in the fortress of Spielberg. His tragedies are good specimens of modern art; they abound in fine thoughts and tender affections, but they lack that liveliness of dialogue and rapidity of action which give reality to the situations, and that knowledge of the human heart and unity and grandeur of conception which are the characteristics of true genius. Manzoni (1785-1873) and Nicolini (1782-1861) are the last of the modern representatives of the tragic drama of Italy. The tragedies of Manzoni, and especially his "Conte di Carmagnola," and "Adelchi," abound in exquisite beauties. His style is simple and noble, his verse easy and harmonious, and his object elevated. The merits of these tragedies, however, belong rather to parts, and while the reading of them is always interesting, on the stage they fail to awaken the interest of the audience. After Manzoni, Nicolini was the most popular literary man of Italy of his time. Lofty ideas, generous passions, splendor and harmony of poetry, purity of language, variety of characters, and warmth of patriotism, constitute the merit of his tragedies; while his faults consist in a style somewhat too exuberant and lyrical, in ideas sometimes too vague, and characters often too ideal.