The influence of Sappho on Italian literature is also seen in the many Italian translations of some or all of the fragments; Cappone (1670), Rogati (1783), Pilenejo (1793), Broglio d’Ajano (1804), Leopardi (1816), Benedetti da Cortona (1819), Foscolo (1822), Milani (1824), Zanotto (1844), Jacopo d’Oria (1845), Nievo (1858), Viani (1858), Bustelli (1863), Canini (1885), and others have translated the famous folk-song (see p. 78). Giovambattista Possevini (1565), Francesco Anguilla (1572), Pinelli (1639), Cappone (1670), Corsini (1700), Conti (1739), Verre (1780), Pindemonte (1781), Rogati (1783), Vincenzo Imperiale (1784), Pilenejo (1793), Tommaseo (1827), Comparetti (1876), Ardizzone (1876), Fraccaroli (1878), Ambrosoli (1878), Gemma (1879), Cavallotti (1883), De Gubernatis (1883), Canini (1885) have translated the _Hymn to Aphrodite_. Rogati (1783), Gori (1801), Montalti (1804), Broglio d’Ajano (1804), Sabbione (1817), Venini (1818), Caselli (1819), Foscolo (1823), Milani (1824), Costa (1825), Accio (1830), Monti (1832), Leone (1843), Nievo (1858), Canna (1871), Fraccaroli (1878), Canini (1885) have translated or adapted the second ode. D’Ajano (1804) gave the first complete version of all the old fragments, and in 1863 Bustelli did likewise,—neither of a high order of merit. In 1890 Cipollini published his verse translation of the first two odes and of the fragment about the Pleiades, which his brother set to music. The latest translation I have seen is by Latini (1914) and it is an excellent piece of work. Italy has had for the last hundred or more years a high regard for Sappho. Cipolla, thinking perhaps of Meleager’s comparison of Sappho’s poems to roses, says: Ma i fior più belli Eran, Saffo, i tuoi canti, e ben sapevi Destinato a durar presso i futuri, Tra i più cari, il gentil nome di Saffo. And Zanotto says: Le corde Lesbie risuonar d’amore Per te, donna gentil, vanto di Grecia; Et il tuo lamento ancor discende al cuore. Many of the fragments besides those mentioned have been translated into Italian or imitated by Italian writers, as for example Zanella’s famous imitation, _A donna ignorante_: Tutta il sepolcro di accorrà: memoria Non fia che di te resti, Perchè le rose, del bel colle Aonio Le rose, non cogliesti: Tu senza nome scendarai dell’Erebo A’tenebrosi porti, E fatua larva fra le larve ignobili Vagolerai dei morti. Montalti (1804) imitated the fragment on virginity (p. 91), adding, however, much material of his own; and D’Oria (1845) expanded Sappho’s ten words on the evening star into: Espero amabile, Tu sempre apporti A noi vivissime Gioie e conforti. Tu splendi, e subito Le tazze, piene Di licor, vuotansi A liete cene. Gli armenti all’umile Ovil riduce La soavissima Tua bianca luce; E rende al tenero Seno di quella, Ond’ebbe il nascere, La pastorella.