A somewhat minute analysis is not therefore out of place here, although, whether from indisposition to thrust himself forward or from fear of compromising others, the author’s name occurs but once or twice in the body of the work, which therefore contributes hardly anything to the elucidation of his own biography. It has usually been referred to as “_I Processi di Rubiera_,” Rubiera being the name of the fortress situated between Reggio and Modena, where the prosecution of Modenese political offenders was conducted before a tribunal nominated _ad hoc_. The title of the book, however, is “_Dei Processi e delle Sentenze contra gli imputati di Lesa-Maestà e di aderenza alle Sette proscritte negli Stati di Modena_;” 247 pages, besides the title, Madrid, 8°., 1823. The imprint was a disguise; the publication, if the work can be said to have been published, took place at Lugano. The designation of the anonymous editor, dating from Madrid, Feb. 2, 1823, and subscribing himself, “_Un membro della società landeburiana_,” was no doubt equally apocryphal, and may probably have concealed Panizzi himself. The document is altogether one of the most interesting productions of its author, especially as an indication of the eminence he might have attained in his chosen profession of advocacy had his lot been cast in a free State. The style borders on the oratorical, charged with fiery but restrained indignation, while the vehemence of invective is supported by legal acumen, and a thorough acquaintance with the maxims of jurisprudence, to which the writer continually appeals. His power of recollection and mastery of incidents, whether public or personal, appear extraordinary when it is considered that, his papers having been seized at Cremona, Panizzi himself must have depended to a very great extent upon his memory. Yet the completeness of the documents, which are all given in full, induce the belief that he might somehow have preserved this part of his materials, or have subsequently obtained it indirectly. Some inaccuracies may well have crept unheeded into the narrative under such circumstances, and this may possibly account for his evident desire to suppress the work. Years after, being questioned on the subject by the biographer, he answered, “_Better say nothing about it_.” It seems difficult to assign any other reason, unless it might be an excessive deference to the sentiment alluded to in the preface, “_che lo scoprire le turpitudini delta patria sua, comecchè a ciascuna persona non istia bene, a coloro poi che per capriccio di malvagia fortuna furono fuori del seno di lei trabalzati, più specialmente non convenga._” The tone of the production can scarcely have been disapproved by his maturer judgment. Though emphatic, it is always decorous, whilst the literary effect is even impaired by a punctilious adherence to constitutional fictions in criticizing the acts of the sovereign. There is nothing