An extraordinary figure in Italian literature of yesterday and of the period under discussion, was Olindo Guerrini (1845-1916), for many years director of the University Library at Bologna. In 1878 he published a volume entitled "Postuma" which purported to be the work of one Lorenzo Stecchetti which caused prudish Italy to shiver, prurient Italy to shake, and literary Italy to be enormously diverted. The "Postuma" went through thirty-two editions in forty years, but one should not inquire too closely the reason for this. When critics discovered that the author was alive they assailed his immodest verses, and his responses "Nova Polemica" added to his literary reputation. But it was not until he published his prose writings that he displayed his real literary stature. "Postuma" is still read, that the reader may find something recent to compare with the conduct of Messalina rather than for its literary qualities. "Rime," which has no panoplied display of the author's libido but many charming idyls, reminiscences, and vignettes is much read to-day. Such poems as "Il Guado" ("The Ford") and "Nell' Aria" are as redolent of sentiment and ingenuous experiences that lead to thrills as a rose is redolent of perfume. Every schoolgirl can quote the last two lines of the latter: "Ed io che intesi quel che non dicevi M'innamorai di te perchè tacevi." Other poems such as "Congedo" ("Leave-taking") and "Wienerblut," after the waltz of Johann Strauss, had great popularity at the time and were praised by his contemporaries, but to-day it is difficult to find great merit in them. Were one called upon to make specific comment upon his poetry, he would have to point out the very obvious influence of Byron, De Musset, and Heine, and to say that Guerrini in no way is comparable with any of them. Much has been written about him as the index of the revolt against the corrupt romanticism of the third romantic period in Italy. He was the uncompromising foe of cant and hypocrisy in literature and the stanch defender of realism. Giuseppe Lipparini, an eminently fair critic, gives him a higher rating as a writer of prose than of poetry. These include "Vita di Giulio Cesare Croce" ("Life of Julius Cæsar Croce"), a monograph on Francesco Patuzio, and "Bibliografia per ridere" ("The Laugher's Library"). Although there were countless poets of this period, two or three should be mentioned, more because of the effect they had upon the public taste, perhaps one might say public education, than for the intrinsic merit of their writings; and of these may be mentioned Vittorio Betteloni (1840-1910), the son of a romantic poet. His writings may be said to have popularized the public protest against the romanticism of the third romantic period. He also made known to many of his countrymen the poetry of Byron and of Goethe in faithful poetic translations.