had comparatively small part. Among her translators during these
centuries must be mentioned Ludovico Dolce, whose excellent rendering of
the _Satires_ and _Epistles_ was a product of the early sixteenth;
Scipione Ponsa, whose faithful _Ars Poetica_ in _ottava rima_ appeared
in the first half of the seventeenth; the advocate Borgianelli, whose
brilliant version of Horace entire belongs to the second half; and the
Venetian Abriani, whose complete _Odes_ in the original meters, the
first achievement of the kind, was a not unsuccessful performance which
has taken its place among Horatian curiosities. Among literary critics
are the names of Gravina, whose _Della Ragione Poetica_, full of sound
scholarship and refreshing good sense, appeared in 1716 at Naples; Volpi
of Padua, author of a treatise on Satire, in which the merits of
Lucilius, Horace, Juvenal, and Persius were effectively discussed; and
their followers, Algarotti the Venetian and Vannetti of Roveredo, in
whom Horatian criticism reached its greatest altitude.

If we look outside the field of scholastic endeavor and academic
imitation, and attempt to discern the effect of Horace in actual
literary creation, we are confronted by the difficulty of determining
exactly where imitation and adaptation cease to be artificial, and reach
the degree of individuality and independence which entitles them to the
name of originality. If we are to include here such authors as are
manifestly indebted to suggestion or inspiration from Horace, and yet
are quite as manifestly modern and Italian, we may note at least the
names of Petrarch, already mentioned; the famous Cardinal Bembo, whose
ideal, to write "thoughtfully and little," was a reflection of Horace;
Ariosto, whose satires are in the Horatian spirit, and who, complaining
to his brother Alessandro of the attitude of his patron, Cardinal
Hippolyto d'Este, recites the story of the fox and the weasel, changing
them to donkey and rat; Chiabrera of Savona, who wrote satire