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HUMANITIES 393 way shows us more than once, the reader is forced to conclude that the fault lies in him, in that he has become separated through the centuries from the peculiar emotional ambiance of the eighteenth century. One may argue whether Voltaire succeeds or fails in communicating his own sensibility. After reading Voltaire and Sensibility, one can no longer dispute the great significance of sensibility in Voltaire's life and work. Every chapter examines a distinct aspect of Voltaire: Voltaire the man, the philosopher, the critic, the poet, the playwright, the raconteur, and in each we are shown through a wealth of quotations from his own works, from the observations of contemporaries, through the evidence of the facts of his life that sensibility for Voltaire, far from something to be mocked at, is th.. well-spring of thc poet, the philosopher and the man of action. With great skill Professor Ridgway arranges his material so as to give it a cumulative effect, each chapter contributing its own argument to the whole until the reader in the end is quite wan over to his point of view. Of all these, the last, dealing with Voltaire the prose writer, and the 'Epilogue' are the most revealing and the most challenging. The former because it deals with Voltaire's sensibility where one would expect it least, in his contes philosoplziques, with a convincing argument that the very violence of his attacks against the abuses of his day bctray a man of deep feeling; and the latter because it deals with Voltaire's inAuence on those who are most generally associated with sensibility, the romantics of the early nineteenth century who, as Professor Ridgway demonstrates, recognized their indebtedness to Voltaire precisely there where we are inclined to deny it - in his capacity for emotion and compassion. Today Voltaire still has his friends and his enemies. It is a measure of his greatness. But whether one sees him as 'the grinning monkey: or as 'the sage of Europe: no serious reader of his work can ignore the implications of the contribution Professor Ridgway's book has made to the portrait we have of him. ( PETER MOES) Julius A. Molinaro, editor, Petrnrch to Pirandello: Studies in Italian Literature in Honcntr of Beatrice Corrigan. University of Toronto Press, xvi, 259, $ 15.00 A Festschrift is a literary phenomenon which transforms a melancholic event - such as the retirement of a professor - into a festive occasion, a celebration. With Petrarch to Pirandello, Julius A. Molinaro has followed the tradition and produced a volume of 'Studies in Italian Literature in Honour of Beatrice Corrigan: on the occasion of her retirement from active teaching at the University of Toronto. The volume opens with 394 LETTERS IN CANADA a low-key, effective introduction by the editor, who explains that 'the book was envisaged as encompassing some, if not all' of the 'varied interests' of Professor Corrigan cp ix). These interests are summarized in the title, if we take Pirandello to be a representative of the avant-garde; the range is impressive indeed, and the studies collected by Molinaro correspondingly deal with 'some of the most significant moments in Italian literature' cp xv). The volume can be roughly divided into two parts. The first half (fourteenth to eighteenth centuries) includes two pieces which might be considered as timely contributions to Petrarch's sixth centennial celebrations (a translation of Bucolicum Carmen I by Thomas Bergin and a study on 'Petrarch and the Art of Literature' by Aldo Bernardo), three essays on the Renaissance (by Louise George Clubb on 'The Making of the Pastoral Play,' DaniloAguzzi-Barbagli on 'lngegno, Acutezza, and Meraviglia,' and c.P. Brand on Tasso, Spenser, and the Orlando Furioso'), and one on the 'Early [eighteenth-century] Italian Translations of Addison's Cato' by Hannibal Noce. These last two essays are particularly in tune with Professor Corrigan's interest in, and contributions to, Anglo-Italian cultural and literary relations. The second half of the volume is dedicated to the nineteenth and twentieth centuries. It includes a useful translation of Ulrich Leo's 'II passero solitario: Study of a Motif' by Kurt Levy and five essays on: The Moment in Manzoni' by...

Italian citizens may not use within the territory of the Republic honours or distinctions conferred on them by non-national orders or foreign states, unless authorised by Ministry of Foreign Affairs. The use of awards of the Holy See (including the Equestrian Order of the Holy Sepulchre) is to be authorized by Presidency of the Council of Ministers, while the use of those of the Sovereign Military Order of Malta, enjoying formal recognition in Italy, do not need any authorization to boast.[1]

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The House of Bourbon-Two Sicilies from the Kingdom of the Two Sicilies additionally continues to bestow knighthoods, including the Sacred Military Constantinian Order of Saint George which is fully recognised by the Italian republic.[5] Also the Houses of Bourbon-Parma and Habsburg-Tuscany continues to do so.

It was created on 1 January 1819 by Ferdinand I of the Two Sicilies to reward military valor and merit. It received its name to celebrate the reunification of Naples and Sicily into one kingdom after the Congress of Vienna.

"Duelling takes place in this world where, if there's a challenge, you have to respond," says Tom Cohen, professor emeritus of history at York University. He specializes in Rome during the renaissance period, a time when notions of honour dominated everyday social life.

The duelling tradition came into conflict with both Catholic and state law at various points through history, and yet it persevered across Europe for centuries, serving as a formalized process for managing the potential violence and disorder caused by mens' need to protect their reputation as well as the honour of their families and other dependents.

A state funeral is a public funeral ceremony, observing the strict rules of protocol, held to honour people of national significance. State funerals usually include much pomp and ceremony as well as religious overtones and distinctive elements of military tradition. Generally, state funerals are held in order to involve the general public in a national day of mourning after the family of the deceased gives consent. A state funeral will often generate mass publicity from both national and global media outlets.

A state funeral may also be held to honour a highly distinguished figure following the approval of the monarch and Parliament (of the expenditure of public funds).[3] The last non-royal state funeral in the United Kingdom was that of Sir Winston Churchill on 30 January 1965.[4]

Lucca, the most northern province of Tuscany, lies between the Apennines and the Mediterranean Sea. Its principal city, Lucca, on the River Sarchio, is famous for a remarkable bridge which is said to have been built about 1000 a.d. From the time of the Narses, in the Sixth Century, Lucca was an important city. Here and at Pisa, the earliest Italian school of painting flourished in the Twelfth and Thirteenth Centuries. Lucca became an autonomous commune from the death of Matilda (1115). In 1314 Uguccione della Faggiola seized the reins of Government, but later he was superseded by the powerful Castruccio Castracani. Louis of Bavaria, after having occupied it by his troops, sold it to a Genoese banker, Gherardo Spinola; it was seized by John, King of Bohemia, pawned by him to the Rossi of Parma, sold to Florence, relinquished to Pisa, nominally liberated by Charles IV (Emperor of Germany, 1346-1678) and governed by his vicar. Lucca, subjected to endless vicissitudes, managed first as a democracy and after 1628 as an oligarchy, to maintain its independence, alongside of Venice and Genoa, and painted the word "Libertas" on its banner until the French Revolution. In 1805, Napoleon I gave Lucca to his sister Eliza, who had married Bacciochi. It was occupied by the Neapolitans in 1814, and from 1816 to 1847 it was the Duchy of Maria Louisa of Parma (who married her cousin, Charles IV of Spain), and was ruled by her son, Charles Louis. It later formed one of the provinces of Tuscany. Under the rule of the Lombard Dukes, Lucca possessed a coinage of its own.

The badge of the first class is a white-enamelled cross, with heavy gold lines and with a large fleur-de-lis at the tip of each cross-arm. The obverse bears a shield upon which is an effigy of Saint Louis in golden armour; the reverse has a shield bearing the Bourbon crest of three lilies. The second class cross is of silver and white enamel, while the third is all silver but without the crown. The ribbon is blue with a yellow stripe on either side.

Parma was the Eastern section of Gallia Cispadane at the time of Constantine. It lies in the Lombard plain, north of the Apennines, south of the River Po and west of Modena. For the first fifteen centuries of the Christian era, the many rulers of Parma were of various nationalities. The duchy came into the possession of the Farnese family during the early part of the Sixteenth Century. Eight dukes of that family ruled over the destinies of its people. From Antonio, who died childless in 1731, the duchy passed to Charles of Bourbon (Don Carlos), Infante of Spain, who became King of Naples in 1735. Both Austria and Spain governed it at various times. At the Congress of Vienna in 1815, the duchy was granted to Marie-Louise (daughter of Francis I of Austria), second wife of Napoleon I. She died in 1847. Spanish and Austrian rulers again came into possession. Charles III, a Bourbon and the grandson of Victor Emmanuel I of Sardinia, reigned from 1849 until his assassination in 1854. In 1860, during the regency of his son Robert, Parma was incorporated in the Kingdom of Italy.

On August 8, 1922, the Count d'Caserta of the Austrian line of Bourbons, and a distant cousin of the King of Italy through the female line, honoured one Michael Cangiano, the official Interpreter of the Superior Court of Cambridge, Massachusetts. Signor Cangiano was made a Knight of the Order of Constantine of Saint George of Parma and of Sicily. This indicates that the Order has been continued as a Family Order by the old rulers of those Duchies. be457b7860