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Mock Heroic Poetry, the Drama, and Satire; Tassoni, Bracciolini, Andreini, and others. 15. History and Epistolary Writings; Davila, Bentivoglio, Sarpi, Redi. Historical Development of the Third Period. 2. The Melodrama; Rinuccini, Zeno, Metastasio. 3. Comedy; Goldoni, C. Gozzi, and others. 4. Tragedy; Maffei, Alfieri, Monti, Manzoni, Nicolini, and others. 5.
The day after I had bade them farewell, I slept at Nimes, where I spent three days in the company of a naturalist: M. de Seguier, the friend of the Marquis Maffei of Verona. In his cabinet of natural history I saw and admired the immensity and infinity of the Creator's handiwork.
If, therefore, Nicolo and Maffei had set out upon their first journey in 1250, they must have arrived at the imperial residence of Cambalu, or Pekin, in 1255, at the latest, or four years before Kublai-khan ascended the throne. Their first journey commenced while Baldwin II. was emperor of Constantinople, who reigned from 1234 to 1261.
Amongst the lumber of this forgotten literature we cannot stop to rummage, and we shall therefore proceed immediately to the consideration of the Merope of Maffei, which appeared in the beginning of the eighteenth century. Its success in Italy, on its first publication, was great; and in other countries, owing to the competition of Voltaire, it also obtained an extraordinary reputation.
At Florence he produced the invention of the pianoforte, in which he was assisted and encouraged by this high-minded, richly-cultivated, and very musical prince. Scipione Maffei tells us that in 1709 Cristofori had completed four of the new instruments, three of them being of the usual harpsichord form, and one of another form, which he leaves undescribed.
We do not know what these instruments were, but it may be inferred that they were copies of Cristofori, or were made after the description of his invention by Maffei, which had already been translated from Italian into German, by Koenig, the court poet at Dresden, who was a personal friend of Silbermann.
Through the darkness of the middle ages I explored my way in the Annals and Antiquities of Italy of the learned Muratori; and diligently compared them with the parallel or transverse lines of Sigonius and Maffei, Baronius and Pagi, till I almost grasped the ruins of Rome in the fourteenth century, without suspecting that this final chapter must be attained by the labour of six quartos and twenty years.
The "Madonna enthroned with Saints" was painted for the altar of Maffei Chapel in San Francesco, and was unfortunately removed not many years ago to the Gallery of the Palazzo Communale, suffering the greatest damage in the transit.
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