at a time when there was still a “German taste,” which was a rococo-taste in moribus et artibus. Lessing is an exception, owing to his histrionic nature, which understood much, and was versed in many things; he who was not the translator of Bayle to no purpose, who took refuge willingly in the shadow of Diderot and Voltaire, and still more willingly among the Roman comedy-writers — Lessing loved also free-spiritism in the TEMPO, and flight out of Germany.

But how could the German language, even in the prose of Lessing, imitate the TEMPO of Machiavelli, who in his “Principe” makes us breathe the dry, fine air of Florence, and cannot help presenting the most serious events in a boisterous allegrissimo, perhaps not without a malicious artistic sense of the contrast he ventures to present —