rose from the crowd by the individuality which he contrived to impress upon his performances. His great characteristic is an exquisite elegance, not, as in some other instances, veiling inanity, but usually the accompaniment of something well worth saying. The following piece is a good instance of his power of enhancing, by ingenious embellishment, a thought interesting and attractive in itself:
"River, that from thy Apennine recess,
Swollen with surge of tributary snow,
Com'st foaming, and thy tawny overflow
Hurlest on Samnian vales with headlong stress;
Thy farther shore, where Love awaits to bless,
I seek, and by thy wrath unharmed would go;
If thou intendest not my overthrow,
With stringent curb thy furious flood repress.
But art thou verily resolved to kill,
And purposest that this conclusive day
Shall jointly terminate my good and ill,
Grant me but once to stem thy shock and spray:
My happy errand I would fain fulfil;
Me going spare, returning sweep away."
The general passion for verse naturally extended to the refined and accomplished ladies of the time. Only two, however, have gained a permanent position in Italian literature, as much by their characters as by their poetry. The muse of Vittoria Colonna (1490–1547) chiefly prompted the apotheosis of her husband, the Marquis of Pescara, "a sworded man whose trade was blood," and who, though a great captain, scarcely possessed a single amiable or magnanimous trait of character. The pathos of the situation surpasses that of the verse which it called forth. As a woman, Vittoria evoked the enthusiastic admiration of her contem-
