grand spirit in which it is wrought; and in its revelations of the
motives and ideas of the old professional soldier-life, it reminds me
of Schiller's Wallenstein's Camp. Manzoni's canvas has not the breadth
of that of the other master, but he paints with as free and bold a
hand, and his figures have an equal heroism of attitude and motive.
The generous soldierly pride of Carmagnola, and the strange _esprit du
corps_ of the mercenaries, who now stood side by side, and now front
to front in battle; who sold themselves to any buyer that wanted
killing done, and whose noblest usage was in violation of the letter
of their bargains, are the qualities on which the poet touches, in
order to waken our pity for what has already raised our horror. It is
humanity in either case that inspires him--a humanity characteristic
of many Italians of this century, who have studied so long in the
school of suffering that they know how to abhor a system of wrong, and
yet excuse its agents.

The scene I am to give is in the tent of the great _condottiere_.
Carmagnola is speaking with one of the Commissioners of the Venetian
Republic, when the other suddenly enters:

_Commissioner._ My lord, if instantly
You haste not to prevent it, treachery
Shameless and bold will be accomplished, making
Our victory vain, as't partly hath already.

_Count._ How now?

_Com._ The prisoners leave the camp in troops!
The leaders and the soldiers vie together
To set them free; and nothing can restrain them