It is true, however, that his constant solicitude for conciseness and effect led him, sometimes, into a harsh and barbarous phraseology, and into the most unrestrained innovations; but considering the rudeness of his age, and the unformed state of his language, he seems hardly open to the censure of a candid critic on this account. On the other hand, it is impossible not to wonder how, in spite of such obstacles, he could so happily express all the wild conceptions of his fancy, the most abstract theories of philosophy, and the most profound mysteries of religion. The occasional obscurity and coldness of the Divine Comedy proceeds much less from defects of style, than from didactic disquisitions and historical allusions which become every day less intelligible and less interesting. To be understood and appreciated as a whole, and in its parts, it requires a store of antiquated knowledge which is now of little use. Even at the period of its publication, when its geography and astronomy were not yet exploded, its philosophy and theology still current, and many of its incidents and personages still fresh in the memory of thousands, it was considered rather as a treasure of moral wisdom, than as a book of amusement. The city of Florence, and several other towns of Italy, soon established professorships for the express purpose of explaining it to the public. Two sons of Dante wrote commentaries for its illustration: Boccaccio, Benvenuto da Imola, and many others followed the example in rapid succession; and even a few years since Foscolo and Rossetti excited fresh curiosity and interest by the novelty of their views. Notwithstanding the learning and ingenuity of all its expositors, the hidden meaning of the ‘Divina Commedia’ is not yet perfectly made out, though Rossetti, in his ‘Spirito Antipapale,’ lately published, seems to have shown, that under the exterior of moral precepts, it contains a most bitter satire against the court of Rome. But whether time shall remove these obscurities, or thicken the mist which hangs around this extraordinary production, it will be ever memorable as the mighty work which gave being and form to the beautiful language of Italy, impressed a new character on the poetry of modern Europe, and inspired the genius of Michael Angelo and of Milton. There is no life of Dante which can be recommended as decidedly superior to the rest. The earliest is that of Boccaccio; but it evidently cannot be relied on for the facts of his life. There are others by Lionardo, Aretino, Fabroni, Pelli, Tiraboschi, &c. The English reader will find a fuller account prefixed to Mr. Carey’s translation of the ‘Divina Commedia,’ and in Mr. Stebbing’s Lives of the Italian Poets. [Illustration] [Illustration: _Engraved by E. Scriven._ SIR HUMPHREY DAVY. _From the original Picture by_ Sir Thomas Lawrence _in the possession of the Royal Society_. Under the Superintendance of the Society for the Diffusion of Useful Knowledge.