"Life of Virgil" tells us that the poet "published the Georgics in honour of Mæcenas, to whom they are addressed;" and adds, that "they were recited to Augustus four days together at Atella, where he rested himself for some time, in his return from Actium, Mæcenas taking upon him the office of reciting, as oft as Virgil's voice failed him." Horace may be ranked next to Virgil in Mæcenas's good graces: we have already mentioned how and what time their friendship commenced. Propertius also acknowledges Mæcenas for his favourer and protector : nor must Varius be forgot, though we have nothing of his remaining; since we find him highly praised by both Virgil and Horace. He was a writer of tragedies: and Quintilian thinks he may be compared with any of the ancients, In a word, Mæcenas's house was a place of refuge and welcome to all the learned of his time; not only to Virgil, Horace, Propertius, and Varius, but to Fundanius, whom Horace extols as an admirable writer of comedies; to Fuscus Aristius, a noble grammarian, and Horace's intimate friend; to Plotius Tucca, who assisted Varius in correcting the "Eneid" after the death of Virgil; to Valgius, a poet and very learned man, who, as Pliny tells us, dedicated a book to Augustus "De usu Herbarum;" to Asinius Pollio, an excellent tragic writer, and to several others, whom it would be tedious to mention. All these dedicated their works, or some part of them at least, to Mæcenas, and repeatedly celebrated his praises in them; and we may observe further, what Plutarch tells us, that even Augustus himself inscribed his "Commentaries" to him and to Agrippa.

Maecenas continued in Augustus's favour to the end of his life, but not uninterruptedly. Augustus had an intrigue with Maecenas's wife; and though the minister bore this liberty of his master's very patiently, yet there was once a coldness on the part of Augustus, although not of long continuance. Mæcenas died in the year 745, as is supposed, at an advanced age. He must have been older than Augustus, because he was a kind of tutor to him in his youth. Horace did not probably long survive him, as there is no elegy of his upon Mæcenas extant, nor any account of one having ever been written, which would probably have been the case, had Horace survived him any time. Sanadon, the French editor of Horace, insists that the poet died before his patron; and that the recommenVOL. XXI.

H

dation of him to Augustus was found only in Maecenas's will, which had not been altered.

Mæcenas is said never to have enjoyed a good state of health in any part of his life; and many singularities are related of his bodily constitution. Thus Pliny tells us, that he was always in a fever; and that, for three years before his death, he had not a moment's sleep. Though he was certainly an extraordinary man, and possessed many admirable virtues and qualities, yet it is agreed on all hands that he was very luxurious and effeminate. Seneca has allowed him to have been a great man, yet censures him very severely on this head, and thinks that his effeminacy has infected even his style. "Every body knows," says he, "how Mæcenas lived, nor is there any occasion for me to describe it: the effeminacy of his walk, the delicacy of his manner, and the pride he took in shewing himself publicly, are things too notorious for me to insist on. But what! Is not his style as effeminate as himself? Are not his words as soft and affected as his dress, his equipage, the furniture of his house, and his wife?" Then, after quoting some of his poetry, "who does not perceive, says he, "that the author of these verses must have been the man, who was perpetually walking about the city with his tunic loose, and all the other symptoms of the most effeminate mind?" V. Paterculus does not represent him as less effeminate than Seneca, but dwells more on his good qualities. "Mæcenas," says he, "was of the equestrian order, but sprung from a most illustrious origin. He was a man, who, when business required, was able to undergo any fatigue and watching; who consulted properly upon all occasions, and knew as well how to execute what he had consulted; yet a man, who in seasons of leisure was luxurious, soft, and effeminate, almost beyond a woman. He was no less dear to Cæsar than to Agrippa, but distinguished by him with fewer honours; for he always continued of the equestrian rank, in which he was born; not that he could not have been advanced upon the least intimation, but he never solicited it." His patronage of men of letters is, after all, the foundation of his fame; and having by general consent given a name to the patrons of literature, his own can never be forgotten. '

1 Mæcenas Meibomii.-Life, by Schomberg, compiled from Meibomius and the abbe Richer.-Gent. Mag. vol. LXXVI.-Saxii Onomast.

MÆSTLINUS (MICHAEL), a celebrated astronomer of Germany, whose name deserves to be preserved, was born about 1542, in the dutchy of Wirtemberg, and spent his youth in Italy, where he made a public speech in favour of Copernicus, which served to wean Galileo from Aristotle and Ptolemy, to whom he had been hitherto entirely devoted. He returned afterwards to Germany, and became professor of mathematics at Tubingen; where he had among his scholars the great Kepler. Tycho Brahe, though he did not assent to Mæstlin, has yet allowed him to be an extraordinary person, and well acquainted with the science of astronomy. Kepler has praised several ingenious inventions of Mæstlin's, in his " Astronomia Optica." He died in 1590, after having published many works in mathematics and astronomy, among which were his treatises "De Stella nova Cassiopeia ;" "Ephemerides," according to the Prutenic Tables, which were first published by Erasmus Reinoldus in 1551. He published likewise "Thesis de Eclipsibus ;" and an "Epitome of Astronomy," &c.'

MAFFEI VEGIO. See VEGIO.

MAFFEI (FRANCIS SCIPIO), a celebrated Italian writer, and a marquis, was born of an illustrious family at Verona, in 1675, and was very early associated to the academy of the Arcadi at Rome. At the age of twenty-seven, he distinguished himself at Verona, by supporting publicly a thesis on love, in which the ladies were the judges and assessors; and displayed at once his talents for gallantry, eloquence, and poetry. Anxious for glory of all kinds, he made his next effort in the army, and served as a volunteer at the battle of Donawert, in 1704; but the love of letters prevailed, and he returned into Italy. There his first literary enterprise, occasioned by an affair of honour, in which his elder brother was involved, was an earnest attack upon the practise of duelling. He brought against it all the arguments to which it is so evidently exposed; the opposite practice of the ancients, the suggestions of good sense, the interests of social life, and the injunctions of religion. He proceeded then to the drama, and produced his "Merope," which was acted with the most brilliant success. Having thus purified tragedy, he proceeded to render the same service to comedy, and wrote one entitled "La Ceremonia," which was much applauded. Jn 1732, he visited

J Martin's Biog. Philos.-Dict. Hist.

France, where he passed four years, caressed in the greatest degree for his talents and learning; and then went into England, where he was much esteemed, to Holland, and finally to Vienna, and was most honourably received by the emperor Charles VI. After several years thus employed, he returned into Italy, and in literary activity, extended his attention to almost every subject of hu man knowledge. He died in 1755, at the age of eighty. He was gifted with a comprehensive genius, a lively wit, and a penetrating mind, eager for discoveries, and well calculated for making them. His disposition was cheerful, sincere, and disinterested, full of zeal for religion, and faithful in performing its duties. The people of Verona almost idolized him. During his last illness they offered public prayers for his recovery, and the council of state decreed solemn obsequies after his death, with the ceremony of a funeral oration in the cathedral of Verona.

Lady Mary Wortley Montague, in her letters lately published, has given a very lively description of Maffei's employments: "After having made the tour of Europe in search of antiquities, he fixed his residence in his native town of Verona, where he erected himself a little empire, from the general esteem, and a conversation (so they call an assembly) which he established in his palace, one of the largest in that place, and so luckily situated, that it is between the theatre and the ancient amphitheatre. He made piazzas leading to each of them, filled with shops, where were sold coffee, tea, chocolate, all sorts of sweetmeats, and in the midst, a court well kept, and sanded, for the use of those young gentlemen who would exercise their managed horses, or show their mistresses their skill in riding. His gallery was open every evening at five o'clock, where he had a fine collection of antiquities, and two large cabinets of medals, intaglios, and cameos, arranged in exact order. His library joined to it: and on the other side a suite of five rooms, the first of which was destined to dancing, the second to cards (but all games of hazard excluded), and the others (where he himself presided in an easy chair), sacred to conversation, which always turned upon some point of learning, either historical or poetical. Controversy and politics being utterly prohibited, he generally proposed the subject, and took great delight in instructing the young people, who were obliged to seek the

medal, or explain the inscription that illustrated any fact they discoursed of. Those who chose the diversion of the public walks, or theatre, went thither, but never failed returning to give an account of the drama, which produced a critical dissertation on that subject, the marquis having given shining proofs of his skill in that art. His tragedy of "Merope," which is much injured by Voltaire's translation, being esteemed a master-piece; and his comedy of the "Ceremonies," being a just ridicule of those formal fopperies, it has gone a great way in helping to banish them out of Italy. The walkers contributed to the entertainment by an account of some herb, or flower, which led the way to a botanical conversation; or, if they were such inaccurate observers as to have nothing of that kind to offer, they repeated some pastoral description. One day in the week was set apart for music, vocal and instrumental, but no mercenaries were admitted to the concert. Thus, at a very little expence (his fortune not permitting a large one), he had the happiness of giving his countrymen a taste of polite pleasure, and shewing the youth how to pass their time agreeably without debauchery."

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The complete catalogue. of his works would resemble that of a library; the chief of them are these: 1. "Rime è prose," Venice, 1719, 4to. 2. La scienza Cavalleresca," Rome, 1710, 4to. This is against duelling, and has passed through six editions. 3. "Merope," of which there have been many more editions, and several foreign versions. 4. "Traduttori Italiani," &c. Venice, 1720, 8vo, contains an account of the Italian translations from the classics. 5. "Theatro Italiano," a selection of Italian tragedies, in 3 vols. 8vo. 6. "Cassiodori complexiones, in Epistolas et Acta Apostolorum," &c. Flor. 1721. 7. "Istoria Diplomatica," or a critical introduction to diplomatic knowledge. 8. "Degli Anfiteatri," on amphitheatres, particularly that of Verona, 1728. 9. "Sup

plementum Acaciarum," Venice, 1728. 10. "Museum Veronense," 1729, folio. 11. "Verona Illustrata," 1732, folio. 12. An Italian translation of the first book of Homer, in blank verse, printed at London, in 1737. 13. "La Religione di Gentili nel morire," 1736, 4to. 14. "Osservationi Letterarie," intended to serve as a continuation of the Giornale de' Leterati d' Italia. He published also a work on grace, some editions of the fathers, and