[298] Montholon, tom. iv., p. 187.
[299] Montholon, tom. iv., p. 185; Botta, tom. ii., p. 461.
[300] "Instead of passing their time at the feet of women, the young Italians now frequented the riding and fencing schools, and fields of exercise. In the comedies and street farces, there had always been an Italian, represented as a very cowardly though witty fellow, and a kind of bullying captain,—sometimes a Frenchman, but more frequently a German—a very powerful, brave, and brutal character, who never failed to conclude with caning the Italian to the great satisfaction of the applauding spectators. But such allusions were now no longer endured by the populace; authors now brought brave Italians on the stage, putting foreigners to flight, and defending their honour and their rights."—Napoleon, Montholon, tom. iv., p. 185.
[301] "Count Cobentzel was a native of Brussels; a very agreeable man in company, and distinguished by studied politeness; but positive and intractable in business. There was a want of propriety and precision in his mode of expressing himself, of which he was sensible; and he endeavoured to compensate for this by talking loud and using imperious gestures."—Napoleon, Montholon, tom. iv., p. 239.
[302] Montholon, tom. iv., p. 251.
Spiegò quel crudo il seno, e'l manto scosse,
Ed a guerra mortal, disse, vi sfido:
E'l disse in atto si feroce ed empio
Che parve aprir di Giano il chiuso tempio.
La Gerusalemme Liberata, Canto II.—S.
His lap he open'd and spread forth his cloke,
To mortal wars, he saies, I you defie—
And this he uttered with fell rage and hate
And seem'd of Janus' church t' undoe the gate.
Fairfax.