50 



to history, and se6 the progress of the Jint arts, ,the sur- 

 prising monuments of art, genius, and magnificence, Avhieh 

 have adorned the modern aristocratic republics of Ital}'; 

 as Venice, Genoa, Florence, and Pisa: not to speak of 

 ancient Rome, which, in its best and purest times, AA'as 

 aristocratic. How vast and noble were they! what eleva- 

 tion of talent do they exhibit! how much do they seem, 

 at this day, to surpass the strength and revenues of states 

 so veiy limited in extent! The pomp and splendor of 

 their palaces and public buildings; their excellent poetical 

 productions; the share they bore, in the revival of letters; 

 must be ascribed to the influence of freedom. Criticism 

 was honoured and respected: a multitude of learned edi- 

 tors, as Vellutello, Landino, Victorius, Aldus, arose: trans- 

 lations of most of the ancient classics >vere made; which 

 are now known by the name of Coll ana, from the com- 

 plete series they form: the ancients Avere examined, as 

 models of sublimity and beauty: the modern Italian lan- 

 guage sprung out of barbarism: rhetoric, philosophy, and 

 poetry flourished: Petrarch g3ve to Italian poetry ,..Bn ele- 

 gance, and softness, a grace, Avhich is inimitable; to this 

 he added the charms of modesty and virtue. 



We proceed to consider the influence of a limited mo- 

 narchy on the Jine arts Monarchy is favourable to many 

 of them, and to the manufactures connected with them ; 

 to those, especially, Avhich are subservient to luxury and 

 pleasure. Monarchs maintain a splendid establishment, 

 state and magnificence. They are led, both by inclination 



and 



