¹ Hardy, Thomas, The Complete Poems, edited by Gibson, James (London, 1981)Google Scholar, 104.

² Michaelis, Adolf, Ein Jahrhundert kunstarchäologischer Entdeckungen. Zweite Auflage (Leipzig, 1908), 11–12 Google Scholar.

³ Michaelis, Ein Jahrhundert kunstarchäologischer Entdeckungen (above, n. 2), 9–11; Pinto, John A., ‘A wider prospect: expanding the repertoire of classicism’, in Pinto, John A., Speaking Ruins: Piranesi, Architects, and Antiquity in Eighteenth-Century Rome (Ann Arbor, MI, 2012), 217–73CrossRefGoogle Scholar. See also Lang, Suzanne, ‘The early publications of the Temples at Paestum’, Journal of the Warburg and Courtauld Institutes 13 (1950), 48–64 CrossRefGoogle Scholar; Breman, Paul, The Society of Dilettanti: Neo-Classical Taste and Greek Revival Architecture (London, 1968)Google Scholar; Redford, Bruce, Dilettanti: The Antic and the Antique in Eighteenth-Century England (Los Angeles, 2007)Google Scholar; Kelly, Jason M., The Society of Dilettanti: Archaeology and Identity in the British Enlightenment (New Haven, CT, and London, 2009)Google Scholar; Ceserani, Giovanna, Italy's Lost Greece: Magna Graecia and the Making of Modern Archaeology (Oxford and New York, 2012)CrossRefGoogle Scholar.

⁴ See, in general, Pietrangeli, Carlo, I Musei Vaticani. Cinque secoli di storia (Rome, 1985)Google Scholar; Spinola, Giandomenico, Il Museo Pio Clementino, 3 vols (Vatican City, 1996)Google Scholar; Liverani, Paolo, ‘Dal Pio-Clementino al Braccio Nuovo’, in Emiliani, Andrea (ed.), Il segno di Pio VI Braschi e di Pio VII Chiaramonti nell'arte italiana (Bologna, 1998), 27–41 Google Scholar.

⁵ Ludwig, von Pastor, Freiherr, The History of the Popes from the Close of the Middle Ages. Vol. XXXIX. Pius VI (1775–1799), tr. Peeler, E.F. (London, 1952), 45–110 Google Scholar; Caffiero, Marina, ‘Pio VI’, in Dizionario biografico degli italiani [= DBI], vol. 84 (Rome, 2015), 1–11 Google Scholar; Rosa, Mario, ‘Introduzione all’Aufklärung cattolica in Italia’, in Cattolicesimo e lumi nel settecento italiano (Rome, 1981), 1–47 Google Scholar; Mario Rosa, ‘Clemente XIV’, DBI 26 (1982), 343–62; Collins, Jeffrey, Papacy and Politics in Eighteenth-Century Rome: Pius VI and the Arts (Cambridge, 2004)Google Scholar.

⁶ Cf. Venturi, Franco, ‘Tre terre italiane di fronte alla fame: Napoli, Roma, Firenze’, in Venturi, Franco, Settecento riformatore. V. L'Italia dei lumi (1764–1790) (Turin, 1969–90), 319–20Google Scholar.

⁷ Justi, Karl, Winckelmann und seine Zeitgenossen, 3 vols. Dritte Auflage (Leipzig, 1923), III, 453–4Google Scholar.

⁸ Ridley, Ronald T., The Pope's Archaeologist: The Life and Times of Carlo Fea (Rome, 2000), 27–31 Google Scholar (esp. 28). For a biographical introduction to father and son see Sforza, Giovanni, Ennio Quirino Visconti e la sua famiglia (Genoa, 1923)Google Scholar; Gallo, Daniela, ‘I Visconti. Una famiglia romana al servizio dei papi, della Repubblica e di Napoleone’, Roma Moderna e Contemporanea 2 (1994), 77–90 Google Scholar.

⁹ Cf. Haskell, Francis and Penny, Nicolas, Taste and the Antique (New Haven, CT, and London, 1998 [first edition 1981])Google Scholar, nos. 5, 32 and 86. On Hadrian's Villa in the late eighteenth century see Macdonald, William L. and Pinto, John A., Hadrian's Villa and Its Legacy (New Haven, CT, and London, 1995), 229–305 Google Scholar, 363–71. On the broader picture cf. Bignamini, Ilaria, ‘British excavations in the Papal States during the eighteenth century: written and visual sources’, in Bignamini, Ilaria (ed.), Archives & Excavations (London, 2004), 91–108 Google Scholar; Ilaria Bignamini and Clare Hornsby, with additional research by Giovampaola, Irma Della and Yarker, Jonathan, Digging and Dealing in Eighteenth-Century Rome (New Haven, CT, and London, 2010), 156–75Google Scholar (on Tivoli) and passim.

¹⁰ Giambattista and Ennio Quirino Visconti, Il Museo Pio-Clementino, 7 vols [in vols II–VII the title has no hyphen] (Rome, 1782–1807), I (1782), 11–13. Cf. Collins, Jeffrey, ‘Marshaling the Muses: the Vatican's Pio-Clementino Museum and the Greek ideal’, Studies in the Decorative Arts 16 (2008–9), 35–63 CrossRefGoogle Scholar. All volumes give Ennio Quirino Visconti as the author except the first, ascribed to Giambattista (although authored for the greater part by the son). The entire work is now available online, courtesy of the Universitätsbibliothek Heidelberg: http://digi.ub.uni-heidelberg.de/diglit/visconti1782bd1/0168. On the genesis and progress of the first edition, from which all quotations are taken, see Sforza, Ennio Quirino Visconti (above, n. 8), 85–91.

¹¹ Cf. Pietrangeli, Carlo, Scavi e scoperte di antichità sotto il pontificato di Pio VI (Rome, 1958)Google Scholar; Ridley, Ronald T., The Eagle and the Spade: Archaeology in Rome during the Napoleonic Era (Cambridge, 1992), 28–30 Google Scholar. Further bibliography in Collins, ‘Marshaling the Muses’ (above, n. 10), 60, n. 2.

¹² Visconti, Il Museo Pio-Clementino (above, n. 10), I (1782), 97–8 and ‘Tavola B’, 1 and 2.

¹³ On the limited number of intact portraits and the combinatory practice affecting, in particular, the herms found at Tivoli in the sixteenth century, see Orsini, Fulvio, Imagines et elogia virorum illustrium et eruditorum ex antiquis lapidibus et nomismatibus expressa, cum annotationibus ex bibliotheca Fulvi Ursini (Rome, 1570), 6–7 Google Scholar. An overview is in Haskell, Francis, History and Its Images (New Haven, CT, and London, 1993)Google Scholar, chs 2 and 5. On the methods of restoring the missing parts of the statues of the Muses, in line with ‘eighteenth-century conventions [which] demanded complete statues’, see Collins, ‘Marshaling the Muses’ (above, n. 10), 39.

¹⁴ Visconti, Il Museo Pio-Clementino (above, n. 10), I (1782), 14 note. See also Dacier, Bon-Joseph, Rapport historique sur les progrès de l'histoire et de la littérature ancienne depuis 1789 et sur leur état actuel (Paris, 1810), 59–60 Google Scholar, on the discoveries at Tivoli as the seminal idea for Visconti's last great works, Iconographie grecque, 3 vols (Paris, 1808)Google Scholar, and (with Antoine Mongez) Iconographie romaine, 4 vols (Paris, 1817–26)Google Scholar.

¹⁵ Visconti, Il Museo Pio Clementino (above, n. 10), VI (1792), 44. The second herm was given to Gavin Hamilton in exchange for other pieces and eventually bought by Charles Townley (43, note a).

¹⁶ Visconti, Il Museo Pio Clementino (above, n. 10), VI (1792), 44–5.

¹⁷ Vicchi, Leone, Vincenzo Monti. Le lettere e la politica in Italia dal 1750 al 1830 (Triennio 1778–1780) (Fusignano, 1886), 303–10Google Scholar; Mestica, Giovanni, ‘La prima ode di Vincenzo Monti’, Nuova Antologia 24 (1889), 39–62 Google Scholar; Monti, Vincenzo, Poesie, edited by Bertoldi, Alfonso (Florence, 1904 [first edition 1891]Google Scholar; facsimile reprint 1978). More recent contributions: Springer, Carolyn, The Marble Wilderness: Ruins and Representation in Italian Romanticism, 1775–1850 (Cambridge, 1987)Google Scholar, chs 1 and 2; Collins, Papacy and Politics (above, n. 5), 190; Sarnelli, Mauro, ‘La Prosopopea di Pericle in Arcadia e oltre’, in Barbarisi, Gennaro (ed.), Vincenzo Monti nella cultura italiana. II. Monti nella Roma di Pio VI (Milan, 2006), 125–74Google Scholar; and Collins, ‘Marshaling the Muses’ (above, n. 10), 56–9.

¹⁸ Monti, Vincenzo, Epistolario, edited by Bertoldi, Alfonso, 6 vols (Florence, 1928–31), I, 82–3Google Scholar. Declamation was to remain one of Monti's most admired skills. Particularly revealing is the testimony of Benjamin Constant, expressed at a place and time — Mme de Staël's chateau at Coppet on Lake Geneva in the autumn of 1805 — when Constant perceived Monti as a dangerous rival to his attempts to gain their hostess's affection. From his Journal intime of 1805: ‘19 [October]. Arrivée de Monti. Superbe figure douce et fière, pourtant le caractère d'un poète’. ‘21 [October]. Superbe déclamation de Monti’. ‘16 [November]. Pris congé de Monti. C'est un véritable poète, fougueux, emporté, faible, timide et mobile. Le pendant de [Marie-Joseph] Chénier en Italien, quoqu'il vaille mieux que Chénier’ ( Constant, Benjamin, Œuvres, edited by Roulin, Alfred (Paris, 1957)Google Scholar, 554, 556).

¹⁹ Monti, Epistolario (above, n. 18), I, 82 and 88.

²⁰ The poem was first published in I voti quinquennali celebrati dagli Arcadi nel Bosco Parrasio ad onore della santità di N.ro Signore Papa Pio VI (Rome, 1779), 55–60 Google Scholar. All quotations that follow refer to the text and line numbering of the final version unless otherwise noted. On the changes progressively introduced by Monti in the text see Vicchi, Vincenzo Monti (above, n. 17), 306–9; Mestica, ‘La prima ode’ (above, n. 17), 47–53; Monti, Poesie (above, n. 17), 4–12; Ciani, Ivanos, ‘Le prime raccolte poetiche di Vincenzo Monti’, Studi di Filologia Italiana 37 (1979), 413–95Google Scholar; Sarnelli, ‘La Prosopopea di Pericle’ (above, n. 17), 159–72, as well as the concluding pages of this article.

²¹ Wilton-Ely, John, ‘Vision and design: Piranesi's fantasia and the Graeco-Roman controversy’, in Brun, G. (ed.), Piranèse et les Français: Actes du Colloque tenu à la Villa Médicis (Rome, 1978), 529–52Google Scholar; Wilton-Ely, John, ‘The art of polemic: Piranesi and the Graeco-Roman controversy’, in Boutry, Philippe et al. . (eds), La Grecia antica: mito e simbolo per l'età della Grande Rivoluzione (Milan, 1991), 121–30Google Scholar; Marvin, Miranda, The Language of the Muses: The Dialogue between Roman and Greek Sculpture (Los Angeles, 2008)Google Scholar.

²² Equally significant are the echoes of early modern and coeval poets, such as Baldassarre Castiglione (1478–1529), Jacopo Sadoleto (1477–1547), Agostino Favoriti (1624–82) and Agostino Paradisi (1736–83), thoroughly investigated in Sarnelli, ‘La Prosopopea di Pericle’ (above, n. 17), 144–59.

²³ The original text read Ancor lo nutre, e serbalo / Dopo la tomba Amore. Monti inserted the chiasmus in the days immediately following his recital when he was asked to revise the text for publication, but not so promptly that the new reading could feature in the Roman first edition. Cf. Mestica, ‘La prima ode’ (above, n. 17), 50; Monti, Poesie (above, n. 17), 9. This brief summary and analysis, conducted from the viewpoint of the literary historian, aims to complement the illustration offered by Springer, The Marble Wilderness (above, n. 17), ch. 1, and especially the excellent one provided by Collins, ‘Marshaling the Muses’ (above, n. 10), 56–9.

²⁴ Over and above the titles already mentioned, cf. Gennaro Barbarisi's seminal ‘Vincenzo Monti e la cultura neoclassica’, in Cecchi, Emilio and Sapegno, Natalino (eds), Storia della letteratura italiana. L'Ottocento (Milan, 2001 [first edition 1969]), 7–104 Google Scholar; Romano, Angelo, Vincenzo Monti a Roma (Manziana, 2001)Google Scholar; Bruni, Arnaldo, ‘Monti nella Roma neoclassica’, Rassegna Europea di Letteratura Italiana 23 (2004), 23–42 Google Scholar. Vicchi's Vincenzo Monti (above, n. 17) retains considerable importance.

²⁵ Francesca Fedi, ‘“Il midollo dell'immagine”: Monti e le prospettive teoriche del neoclassicismo “romano”’, in Barbarisi (ed.), Monti nella Roma di Pio VI (above, n. 17), 57–79, and Sarnelli, ‘La Prosopopea di Pericle’ (above, n. 17).

²⁶ Fedi, ‘“Il midollo dell'immagine”’ (above, n. 25), 57–8.

²⁷ On the somewhat inexplicable and certainly unforgivable oblivion that has affected the legacy of Visconti's work, see Treves, Piero (ed.), Lo studio dell'antichità classica nell'Ottocento (Milan and Naples, 1962), 3–16 Google Scholar; Ridley, The Pope's Archaeologist (above, n. 8), 27.

²⁸ Monti, Vincenzo, Saggio di poesie (Livorno, 1779)Google Scholar, xiii, with an allusive reference to Horace's apostrophe to Tibullus, Albi, nostrorum sermonum candide iudex (Horace, Epodes 1.4.1). A modern, annotated edition of the ‘Discorso preliminare’ can be read in Monti, Vincenzo, Opere, edited by Valgimigli, Manara and Muscetta, Carlo (Milan and Naples, 1953), 999–1009 Google Scholar.

²⁹ Monti, Saggio di poesie (above, n. 28), xiv–xv; Monti, Opere (above, n. 28), 1003–4. Mattei's, Saverio I libri poetici della Bibbia tradotti dall'ebraico originale, ed adattati al gusto della poesia italiana, 3 vols (Naples, 1766–8)Google Scholar, frequently reprinted, was enjoying enormous success in those years (cf. Anna Maria Rao, ‘Mattei, Saverio’, DBI 72 (2008), 177–82), while raising the admiration of such readers as Ferdinando Galiani, Bernardo Tanucci and Pietro Metastasio.

³⁰ ‘Si lascia trasportare troppo o dalla sua fantasia o dall'imitazione di qualche nuovo scrittore oltremontano che gli capita alle mani. La sua dizione non è esente da difetti. Fu sul principio entusiasta per Davide e per Isaia. Poi lo è divenuto pel tedesco Goethe’ (Ennio Quirino Visconti, Due discorsi inediti … con alcune sue lettere e con altre a lui scritte (Milan, 1841), 35), quoted in Treves (ed.), Lo studio dell'antichità classica (above, n. 27), 8.

³¹ Monti, Saggio di poesie (above, n. 28), xxviij–xxix, also anthologized in Treves (ed.), Lo studio dell'antichità classica (above, n. 27), 7–8. The citizens of Sikyon in the Peloponnesus were defeated by Pericles in 453 BC.

³² Monti, Saggio di poesie, xij (above, n. 28).

³³ Monti, Epistolario (above, n. 18), I, 77 (‘ll dovere esige da me che io termini … una canzonetta per il Papa’). In eighteenth-century Italian, ‘canzonetta’ is often synonymous with ‘ode’, although only when referred to select metrical varieties: cf. Zucco, Rodolfo, Istituti metrici del Settecento. L'ode e la canzonetta (Genoa, 2001)Google Scholar.

³⁴ Monti, Epistolario (above, n. 18), I, 83: ‘nel termine di due soli giorni’.

³⁵ Ennio Quirino Visconti, Le Muse — Per nozze Braschi, 1–4: Quando la bionda Ermione / Cinta il bel crin di rose / Giove all'eroe fenicio / In nodo aureo compose …, in Opere varie, italiane e francesi, edited by Labus, Giovanni, 4 vols (Milan, 1831), IV, 615–17Google Scholar. As Harmonia was mother to Autonoe and Monti had adopted the academic name of Autonide (‘son of Autonoe’), Ermione (= Harmonia) may be said to feature there as Monti's academic grandmother. Almost 45 years later, Monti returned to that mythical episode for the subject of a wedding idyll, Le nozze di Cadmo ed Ermione (1825).

³⁶ Giosuè Carducci, ‘Della poesia melica italiana e di alcuni poeti erotici del secolo XVIII’ (1868) and ‘Dello svolgimento dell'ode in Italia’ (1901), in Giosuè Carducci, Opere. Edizione nazionale, 30 vols (Bologna, 1935–61), XV, 83–144 (esp. 114) and 1–81 (esp. 78) respectively; Antonio Pinchera, ‘La quartina settenaria “elegiaca” negli Amori di Ludovico Savioli’, in Montefoschi, Paola, Bologna, Corrado and Vetta, Massimo (eds), Chi l'avrebbe detto: arte, poesia e letteratura per Alfredo Giuliani (Milan, 1994), 260–81Google Scholar. Cf. Monti's ‘Saviolian canzonetta’ Alla fanciulla inferma, in Saggio di poesie (above, n. 28), 94–7. For further relevant examples from the same collection, see Sarnelli, ‘La Prosopopea di Pericle’ (above, n. 17), 158–9.

³⁷ Ennio Quirino Visconti, Per l'esaltazione al Pontificato di Papa Pio VI. —  La gara delle Virtù, in Opere varie (above, n. 35), IV, 620–2. See Sarnelli, ‘La Prosopopea di Pericle’ (above, n. 17), 154–6. Although written in the narrative metre of ottava rima, Visconti's Ottave sul possesso di Nostro Signore Pio Sesto P. M. (Rome, 1775)Google Scholar also appear to have been inspirational in suggesting the topical encomium of Christian Rome as opposed to the ancient pagan city: cf. Collins, Papacy and Politics (above, n. 5), 38–9.

³⁸ Visconti, Il Museo Pio Clementino (above, n. 10), VI (1792), 53 and ‘Tavola XXXVII’; Collins, ‘Marshaling the Muses’ (above, n. 10), 39. Sarnelli, ‘La Prosopopea di Pericle’ (above, n. 17), 147, note 45, observes about Demosthenes’ head that its provenance was subsequently given in Visconti's Iconografia greca as ‘Villa Albani’.

³⁹ Collins's hypothesis, that the presence of Ariosto in the fresco may have been prompted in part by the Pope's (and Monti's) reaction to the criticism of the Ferrarese poet in Martin Sherlock's Consiglio ad un giovane poeta (1778), is ingenious and deserves credit (Collins, ‘Marshaling the Muses’ (above, n. 10), 56, 62). Both Pius VI and Monti were from Romagna, and Monti had engaged polemically with Sherlock in the summer of 1779: cf. Nacinovich, Annalisa, ‘Il Consiglio ad un giovane poeta di Martin Sherlock e l'inizio di una nuova polemica’, in ‘Il sogno incantatore della filosofia’: l'Arcadia di Gioacchino Pizzi, 1772–1790 (Florence, 2003), 117–28Google Scholar.

⁴⁰ Collins, Papacy and Politics (above, n. 5), 315, note 31. Giovanni Volpato and Louis Ducros's etching (c. 1788–9) and a photograph (c. 1880), both showing the original layout and mosaic floor of the Sala delle Muse, are reproduced in Collins, ‘Marshaling the Muses’ (above, n. 10), 45 and 37 respectively.

⁴¹ Cf. Fedi, ‘“Il midollo dell'immagine”’ (above, n. 25), 68–9, where the label ‘anti-arcadic’ is used. On the Accademia degli Aborigeni see Maylender, Michele, Storia delle accademie d'Italia, 5 vols (Bologna, 1926–30), I, 6–23 Google Scholar. La bellezza dell'Universo was singled out for praise by Visconti in his Stato attuale della romana letteratura (Visconti, Due discorsi inediti (above, n. 30), 35).

⁴² Giuliano, Antonio, ‘L'identificazione del Discobolo di Mirone’, in Castellotti, Marco Bona et al. . (eds), Scritti in onore di Giuliano Briganti (Milan, 1990), 11–19 Google Scholar; also in Scritti minori (Rome, 2001), 163–72Google Scholar, from which all quotations are taken.

⁴³ ‘Lettera, all'E(minentissi)mo e R(everendissi)mo Signor Cardinale Guglielmo Pallotta Pro-Tesoriere Generale, del Sig. Abate Gio. Battista Visconti Commissario delle Antichità’, in Dissertazioni epistolari di G. B. Visconti e Filippo Waquier de la Barthe sopra la statua del Discobolo scoperta nella Villa Palombara … Raccolte ed arricchite con note e con le bizzarre iscrizioni della Villa Palombara da Francesco Cancellieri (Rome, 1806), 1–7 Google Scholar.

⁴⁴ Francesco Cancellieri, ‘Annotazioni’, in Dissertazioni epistolari (above, n. 43), 69–71. Cf. Giuliano, ‘L'identificazione’ (above, n. 42), 166. A manuscript copy of the dissertation in Ennio Quirino's hand, dated 24 March 1781, was discovered by Giuliano in the Roman Archivio di Stato, 113/1-67-6. Camerale II. Antichità e Belle Arti. Fascicolo 142 [4^a busta]. As was also the case with other writings that appeared under his father's name during those years, there are reasons to believe that the greater part of this was also the work of Ennio Quirino.

⁴⁵ Cancellieri, ‘Annotazioni’, in Dissertazioni epistolari (above, n. 43), 71. Cf. Giuliano, ‘L'identificazione’ (above, n. 42), 166. The presence of both Monti and Milizia confirms Fedi's surmise about the existence of direct contact between the two (Fedi, ‘“Il midollo dell'immagine”’ (above, n. 25), 61–4).

⁴⁶ Cancellieri, ‘Annotazioni’, in Dissertazioni epistolari (above, n. 43), 71.

⁴⁷ Monti, Poesie (above, n. 17), 48. Compare Visconti's Quando la bionda Ermione / Cinta il bel crin di rose … with Monti's Quando Giason dal Pelio / Spinse nel mar gli abeti …

⁴⁸ Cf. Fedi, ‘“Il midollo dell'immagine”’ (above, n. 25), 69. Visconti was in effect a freemason.

⁴⁹ Cf. Sarnelli, ‘La Prosopopea di Pericle’ (above, n. 17), 155–6.

⁵⁰ According to Maggi, Giovanni Antonio, ‘Intorno alla vita e alle opere del cav. Vincenzo Monti. Cenni’, in Monti, Vincenzo, Opere, 6 vols (Milan, 1839–42)Google Scholar, I, xx; II, 451. Collins, Papacy and Politics (above, n. 5), 227–8 and 324–5, has identified in Monti's extensive ekphrasis of Feroniade 2.75–222, a description of the frescoes in the Sala di Diana of Nemi Castle, commissioned in 1784 by Pius VI and executed by the painter Liborio Coccetti.

⁵¹ Goethe, Johann Wolfgang, Italienische Reise, edited by Michel, Christoph and Dewitz, Hans-Georg, 2 vols (Frankfurt a. M., 1993), I, 151–3Google Scholar (23 November 1786) and 171–2 (15 January 1787).

⁵² According to Monti's own testimony: see Monti, Vincenzo, ‘Esame critico dell'autore sopra l’Aristodemo ’, in Tragedie, drammi e cantate di Vincenzo Monti, con appendice di versi inediti o rari, edited by Carducci, Giosuè (Florence, 1865), 200–1Google Scholar.

⁵³ See the testimonies reported in Sforza, Ennio Quirino Visconti (above, n. 8), 50–1. The publisher of Alighieri, Dante, La Divina Commedia, col comento del p. Baldassarre Lombardi, 3 vols (Rome, 1791)Google Scholar, also issued the volumes of the Museo Pio Clementino. On Lombardi's edition see Tissoni, Roberto, II commento ai classici italiani nel Sette e nell'Ottocento (Dante e Petrarca) (Padua, 1993), 88–97 Google Scholar.

⁵⁴ Monti, Vincenzo, In morte di Ugo Bassville. Cantica, edited by Bozzi, Stefania (Milan, 2013)Google Scholar.

⁵⁵ Visconti, Ennio Quirino and Mustoxidi, Andrea, Osservazioni sulla Iliade del Monti, edited by De Luca, Iginio (Firenze, 1961)Google Scholar. Cf. Omero, Iliade. Traduzione del cav. Vincenzo Monti, edited by Bruni, Arnaldo, 3 vols (Bologna, 2000)Google Scholar.

⁵⁶ ‘Prosopopea di Pericle. Prosopopea, genere molto lirico, nonostante il nome retorico’, quoted in Cottignoli, Alfredo, ‘Carducci editore e critico del Monti (con documenti inediti)’, in Barbarisi, Gennaro (ed.), Vincenzo Monti nella cultura italiana, 2 vols (Milan, 2005), I, 389–442 Google Scholar (esp. 412).

⁵⁷ Cottignoli, ‘Carducci editore e critico del Monti’ (above, n. 56), 412–13.

⁵⁸ ‘Entwirf mit Feuer, und führe mit Phlegma aus’: cf. Winckelmann, Johann Joachim, Geschichte der Kunst des Alterthums, in Sämtliche Werke, edited by Eiselein, J., 12 vols (Donauöschingen, 1825–9; facsimile reprint Osnabrück, 1965)Google Scholar, VI (1825), 191. Winckelmann's famous pronouncement was inspired by a verse by the seventeenth-century English poet Wentworth Dillon, 4th Earl of Roscommon ( Essay on Translated Verse (London, 1684)Google Scholar, 19: ‘And write with fury but correct with Phlegm’).

⁵⁹ Cottignoli, ‘Carducci editore e critico del Monti’ (above, n. 56), 413. Reference is here made to Odysseus’ speech as reported by Antenor in Homer, Iliad 3.223. In 1858 Carducci had already praised Monti's Prosopopea as ‘mirabile per virile parchezza’ ( Monti, Vincenzo, Le poesie liriche, edited by Carducci, Giosuè (Florence, 1858)Google Scholar, viii.

⁶⁰ Monti, Epistolario (above, n. 19), I, 82.

⁶¹ Monti, Epistolario (above, n. 19), I, 77. See above, note 33.

⁶² L'Orfeo del Poliziano con il testo critico dell'originale e delle sue successive forme teatrali, edited by Benvenuti, Antonia Tissoni (Padua, 2000 [first edition 1986])Google Scholar, 2.

⁶³ Manzoni, Alessandro, Tutte le poesie, 1797–1872, edited by Lonardi, Gilberto and Azzolini, Paola (Venice, 1992 [first edition 1987])Google Scholar, 233.

⁶⁴ Berlin, Isaiah, The Hedgehog and the Fox. With a Foreword by Michael Ignatieff. Edited by Hardy, Henry (Princeton, NJ, and Oxford, 2013)Google Scholar, xiii (‘Editor's Preface’).

⁶⁵ Mestica, ‘La prima ode’ (above, n. 17), 47; Monti, Poesie (above, n. 17), 6–7.

⁶⁶ Mestica, ‘La prima ode’ (above, n. 17), 47; Monti, Poesie (above, n. 17), 6–7.

⁶⁷ Foundational contributions for this field of study are Praz, Mario, Gusto neoclassico (Florence, 1940)Google Scholar, transl. On Neoclassicism (London, 1969)Google ScholarPubMed; Honour, Hugh, Neo-classicism (Harmondsworth, 1968)Google Scholar, and The Age of Neo-Classicism (London, 1972)Google Scholar. On the history of the term see Roberto Cardini, ‘ Neoclassicismo. Per la storia del termine e della categoria’, Lettere Italiane 44 (1992), 365–402 Google Scholar; on the linguistic features of neoclassical poetry see Serianni, Luca, ‘Per una caratterizzazione linguistica della poesia neoclassica’, in Cardini, Roberto and Regoliosi, Mariangela (eds), Neoclassicismo linguistico (Rome, 1997), 27–64 Google Scholar.

⁶⁸ Leopardi, Giacomo, Zibaldone di pensieri, edited by Pacella, Giuseppe, 3 vols (Milan, 1991), 3418–19Google Scholar. References are to the page numbering of Leopardi's autograph manuscript.

⁶⁹ Leopardi, Giacomo, Zibaldone: The Notebooks of Leopardi, edited by Caesar, Michael and D'Intino, Franco (London, 2013)Google Scholar, p. 1399.