Compared with contemporary epics, the rhythm is smooth and flowing, and the style dignified, interspersed with highly poetical episodes and finely expressed moral reflections as well as apt illustrations from ancient history and mythology. The epithets, though abundant, are more than usually appropriate, and many terse maxims are happily introduced. Yet, in his object of placing his poem and his hero among the popular literature of the day, Giovanni must have failed, the Vatican MS. being the only known copy. Readers it, however, doubtless had, one of whom has curiously commemorated his admiration by jotting on the margin, "Were you but as good a painter as a poet, who knows!" Modern critics, contrasting his fresco at Cagli with the rhyming Chronicle, would probably arrive at an inverse conclusion, especially were they to pronounce upon the latter from the preamble which called forth that exclamation--an allegorical vision, told in nine weary chapters, wherein figure a motley crowd of mythological and heroic personages belonging to ancient and contemporary times. It would occasion much useless repetition to enter here into any detailed analysis of the work, as we have formerly drawn upon its most valuable portions for the history of Duke Federigo. When considering the state of the fine arts, we shall have to notice a very important part of the poem touching upon that subject--an æsthetic episode on the art and artists of his day, which is introduced on occasion of the Duke's visit to Federigo I., Marquis of Mantua. In regard to the merit of this epic, due allowance must be made for the taste of the age. Its great length necessarily infers a tediousness of detail much more adapted to prose than verse, indeed inherently prosaic. Yet it contains not a few continuous passages of sustained beauty, and it would not be difficult to cull many a sparkling thought and bright simile, while from time to time the dull narrative is enlivened by lyric touches and strokes of poetic fancy, adorning sentiments creditable to the genius and the heart of its author, who, with much sweetness of disposition, appears to have possessed endowments beyond his humble sphere. His patriotic indignation at the ceaseless broils and strifes which convulsed his fatherland may supply us with an example or two:-- "Ma non potendo Italia in pace stare Sotto lunga quiete, o mai, parendo Putrida vile e maricia diventare." No long repose Ausonia e'er can brook, For peace to her brings languor, and she deems It loathsome to lie fallow. "Cum qual costum, che Italia devora, Del sempre stare in gran confusione, Disjunta et seperata, e disiare L'un stato al altro sua destructione." Sad is the usage that Italia wastes In ceaseless struggles, aye for separate ends; Sever'd her states, and each on others' ills Intent.