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662 Tuscan Tolunteers and students. It is a matter of regret to all lovers of Italy that Mr. Trollope's works have not been republished in America, as no American has labored in the same field, nor do Americans en masse possess very correct ideas of a country whose great future is creating an additional interest in her promising present and wonderful past Mr. Trollope's "History of Florence," upon which he is now at work, will be his most valuable contribution to literature.

Mrs. Trollope, who from her polyglot accomplishments may be called a many-sided woman, has been, both by Nature and education, most liberally endowed with intellectual gifts. The depressing influence of continual invalidism alone prevents her from taking that literary position which good health and application would soon secure for her. Nevertheless, Mrs. Trollope has for several years been a constant correspondent of the London "Athenæum," and in all seasons Young Italy has found an enthusiastic friend in her. Many are the machinations of the clerical and Lorraine parties that have been revealed to the English reader by Mrs. Trollope; and when, some time since, her letters upon the "Social Aspects of Revolution in Italy," were collected and published in book-form, they met with the cordial approbation of the critics. These letters are marked by purity of style, quaint picturesqueness, and an admirable couleur locale. As a translator, Mrs. Trollope possesses very rare ability. Her natural aptitude for language is great. A residence in Italy of seventeen years has made her almost as familiar with the mother-tongue of Dante as with that of Shakspeare; and we make bold to say that Giovan Battista Niccolini's most celebrated tragedy, "Amaldo da Brescia," loses none of its Italian lustre in Mrs. Trollope's setting of English blank-verse.—Ah! we cannot soon forget the first time that we saw this same Niccolini, the greatest poet of modern Italy! It was in the spring of 1860, upon the memorable inauguration of the Theatre Niccolini,—ci-devant Cocomero, (watermelon,)—when Florence gave its first public reception to the poet, who was not only Tuscan, but Italianissimo, and rendered more than a passing homage to his name in the new baptism of a charming theatre. Since 1821 Niccolini had been fighting for the good cause with pen as cutting as Damascus blade; the goal was not reached until the veteran of eighty-two, paralyzed in body and mind, was borne into the presence of an enthusiastic audience to receive its bravos. So lately as the previous year the Ducal government had suppressed a demonstration in Niccolini's favor: this night must have atoned for the persecutions of the past. It was then that we heard Rossi, the great actor, declaim entire scenes from "Arnold of Brescia"; and though he stood before us as plain citizen Rossi in a lustrous suit of broadcloth, the fervor and intensity with which he interpreted the master-thoughts of Niccolini forced the audience to see in him the embodiment of the grand patriot-priest. We have witnessed but few greater dramatic performances; never have we been present at so impassioned a political demonstration. Freedom of speech was but just bom to Italy, and Florence drew a long breath in the presence of a national teacher. Eighteen months later Niccolini gazed for the last time upon Italy, and saw the fulfilment of his prophecies.

We wish there were a copy of Mrs. Trollope's translation of "Arnaldo da Brescia" in America, that we might make noble extracts, and cause other eyes to glisten with the fire of its passion. We can recall but one passfige, a speech made by Arnaldo to the recreant Pope Adrian. It is as strong and fearless as was the monk himself.

Adrian, thou dost deceive thyself. The dread

Of Roman thunderbolts is growing faint,

And Reason slacks the bonds thou 'dst have eternal.

She'll break them; yet she is not well awake.

Already human thought so far rebels,