the untrammeled drama, which was studied from English models. They
produced great results for good in Italian letters; but, as usual,
these results were indirect, and not just those at which the
Romanticists aimed.

In Italy the Romantic School was not so sharply divided into a first
and second period as in Germany, where it was superseded for a time by
the classicism following the study of Winckelmann. Yet it kept, in its
own way, the general tendency of German literature. For the "Sorrows
of Werther", the Italians had the "Last Letters of Jacopo Ortis"; for
the brood of poets who arose in the fatherland to defy the Revolution,
incarnate in Napoleon, with hymn and ballad, a retrospective national
feeling in Italy found the same channels of expression through the
Lombard group of lyrists and dramatists, while the historical romance
flourished as richly as in England, and for a much longer season.

De Sanctis studies the literary situation in the concluding pages of
his history; they are almost the most brilliant pages, and they embody
a conception of it so luminous that it would be idle to pretend to
offer the reader anything better than a resume of his work. The
revolution had passed away under the horror of its excesses; more
temperate ideas prevailed; the need of a religious and moral
restoration was felt. "Foscolo died in 1827, and Pellico, Manzoni,
Grossi, Berchet, had risen above the horizon. The Romantic School,'the
audacious boreal school,' had appeared. 1815 is a memorable date....
It marks the official manifestation of a reaction, not only political,
but philosophical and literary.... The reaction was as rapid and
violent as the revolution.... The white terror succeeded to the red."

Our critic says that there were at this time two enemies, materialism