As it was, he had trouble enough with the censors. His first published articles appeared in the _Indicatore Genovese_, a commercial paper issuing at Genoa, whose editor was persuaded to admit short notices of recent books, which gradually swelled into literary essays. Among his later contributions were an article on the historical novel and reviews of Friedrich Schlegel's History of Literature and Guerrazzi's Battle of Benevento. They do not read very well. They are juvenile and exaggerated, and it is amusing to find the twenty-three years' old author telling his coeval Guerrazzi, the young Leghorn novelist, that he had not drunk enough of the cup of life to be a pessimist. The _Indicatore_ gradually became a literary paper, and for a few months the censorship did not see what it was tending to. At the end of 1828, however, about a year after Mazzini began to write in it, it was suppressed. Mazzini easily transferred his energies. Guerrazzi had founded another paper at Leghorn much on the same lines, the _Indicatore Livornese_, and asked Mazzini to send contributions. Mazzini readily responded; he wrote, besides minor papers, an article on Faust, and attacked the defects of the Romanticist School in an essay on _Some Tendencies of European Literature_. His writing is still effusive, and generally dogmatic and sententious, but the style has improved. The censorship was comparatively lenient in Tuscany, and though the young writers were barred from direct reference to politics, they were able to make the political allusions sufficiently transparent. But the paper grew too daring even for the somnolent Tuscan censors, and, like its predecessor, it was snuffed out after a year of life. Mazzini and Guerrazzi parted, to go on very different ways, and meet again nineteen years later when both were famous. In the meantime Mazzini had with some difficulty got a footing on the _Antologia_, the one Italian review of the time that ranked among the great European periodicals. It had been founded some ten years before, in the hope that it might become an Italian Edinburgh Review, by Gino Capponi, the blind Florentine noble who traced his race from the Capponi who bearded Charles VIII., and Vieusseux, a Swiss bookseller who had settled at Florence and opened the one circulating library of any note in Italy. Most of the leading Italian writers of the day contributed to it; and though its aim was avowedly nationalist, and in a sense Liberal, it had succeeded so far, thanks probably to its influential patrons, in eluding the censor's ban. Mazzini wrote for it three articles _On the Historical Drama_ and another _On a European Literature_. His work had rapidly matured, and there is no trace now of the juvenilities of his earlier efforts. Every page has the mark of the strong, original thought, which made him one of the greatest critics of the century.