again. We can only note the few who in Italy, otherwise than as classical scholars, did anything to vindicate their age from the imputation of intellectual barrenness. Two didactic poems with epic affinities, produced, one shortly before, the other shortly after the death of Boccaccio, attest more than pages of panegyric the power with which Dante controlled the imaginations of his countrymen. Fazio degli Uberti, a Florentine of whose life little is known, except that he spent most of it in exile, and died about 1367, seems to have thought that if Dante had appropriated heaven, hell, and purgatory, the earth at least remained for himself. He undertook to describe, in a number of cantos in terza rima, his perlustration of it under the escort of a singular guide, the Latin topographer Solinus. What Solinus is to Virgil, Uberti is to Dante; yet, though an uninspired, he is not a contemptible writer. His geographical epic the Dittamondo (Discourse of the World) may be unduly prejudiced in the eyes of English readers from Rossetti's rendering of a canto in blank verse. It would indeed have been a waste of time to have striven to reproduce the original metre, yet Uberti's tercets glide with an ease and fluency of which the blank verse gives no notion. The poem is not altogether destitute of poetical spirit; one conception, that of the forlorn Genius of Rome herself guiding the poet to her ruins, is truly fine, but force was wanting to work it out. Otherwise it is chiefly interesting as a repertory of the geographical knowledge and fancies of the age. The canto on England has been translated by Rossetti, and is entertaining from its naïveté. Uberti must have been an accomplished man, for he intersperses French and Provenςal verses with his Italian. He is more truly a
