The result is exactly what may be imagined, and a proof of the theory on which I insist, that "nothing but what arises from the heart goes to the heart, and that the verse which never quickened a pulse in the bosom of the poet, never awakened a throb in that of his reader." If I were required to express in one word the distinguishing character of Lorenzo's amatory poems, I should say _grace_: they are full of refined sentiment, elegant simplicity, the most exquisite little touches of description, and illustrations, drawn either from external nature, or from the refined mysteries of platonism; but there is a want of passion, of power, and of pathos; there is no genuine emotion; no overflow of the heart, bursting with its own intense feeling; no voice that cries aloud for our sympathy, and echoes to our inmost bosom. What true lover ever thought of apologising for having given his time to celebrate the object of his love? "Persecuted as I have been from my youth," says Lorenzo, "some indulgence may perhaps be allowed me for having sought consolation in these pursuits."--And again, in allusion to his political situation,--"It is not to be wondered at if I endeavoured to alleviate my anxiety by turning to more agreeable subjects of meditation; and in celebrating the charms of my mistress, sought a temporary refuge from my cares."--Thus Lorenzo tells us that it was not in obedience to the dictates of his own overflowing heart, nor yet to celebrate the charms of his mistress, and win her favour, that he wrote in her praise, but to amuse himself and distract his mind from those cares and anxieties into which he was so early plunged. It has followed as a natural consequence, that elegant as are the amatory effusions of Lorenzo, they are less celebrated, less popular, than his descriptive and moral poems. His Ambra, La Nencia, and his songs for the carnival, have all in their respective style a higher stamp of excellence and originality than his love poetry. His forte seems to have been lively description, philosophical illustration, and brilliant and sportive fancy, combined with a classic taste and polished versification. Some of those sonnets, which, though addressed to Madonna Lucretia, turn chiefly on some beautiful thought or description, are finished like gems; as that on Solitude-- Cerchi chi vuol le pompe e gli alti onori; and that well known and charming one, "Sopra Violetti," Non di verdi giardin, ornati e colti, &c. both of which have been happily translated by Roscoe; and to these may be added the address to Cytherea-- Lascia l' isola tua tanta diletta! Lascia il tuo regno delicato e bello Ciprigna Dea! &c. There is another, not so well known, distinguished by its peculiar fancy and elegance-- Spesso mi torna a mente, anzi già mai, &c. In this he recalls to mind the time and the place, and even the vesture in which his gentle lady first appeared to him--