The travels in England of Duke Cosmo de' Medici, heir-apparent to the Grand Duchy of Tuscany, were performed in 1669, and described by Signor Magalotti, a member of his suite, whose manuscript account was translated into English, and published in 1821. They are more interesting than most foreign narratives of English travel, in so far as Cosmo, having landed at Plymouth and travelled up to London, and having afterwards made excursions to Oxford, Cambridge, and other places, saw more of English country life than usual, and inasmuch as they are accompanied by excellent sketches taken by artists in his suite. It is most delightful to be thus enabled to see towns and villages and country-houses exactly as they appeared in the days of Charles II., and it is only to be regretted that the artists did not exercise their pencils upon the streets of London. Magalotti is an intelligent and inquisitive traveller; but, voyaging in the train of a prince, and unacquainted with the language, he can tell us little respecting the people. His account of what fell within his sphere is sensible and impartial, with a few errors, such as the strange assertion that Clarendon had been secretly a Presbyterian! He is too much of a courtier to inform us respecting the court of Charles II., except in the enumeration of titled persons and officials, in which he is very exact. He gives a fair account of the Royal Society, and of the theatre; but seems unconscious of the existence of English literature outside the walls of the playhouse.
We have now accompanied the literature of the Restoration period from its apparently sudden manifestation contemporaneously with the return of the exiled monarch to its transition into what is so appropriately in one point of view, so unaptly in another, termed England's Augustan age. We have seen that this apparent abruptness was deceptive, arising from the interruption of English literary development by the Civil War and its consequences; and that the Restoration literature represented tendencies which must inevitably have prevailed without the infusion of any French element. The old Elizabethan mode had become inadequate to the vastly extended needs of the time, and we are now able to recognize the literature of the Restoration in its proper connection as a transition to the thoroughly practical and business-like style of the eighteenth century, which, having worked itself out in its turn, and arrived at an impracticable position through the total negation of imagination by its most characteristic representatives,[15] brought about the revival of the Elizabethan spirit in the imaginative, spiritual, and at the same time intensely human literature of the nineteenth century. This in turn seems threatened with decay from the exaggeration of its characteristic qualities; and the antidote might be sought in less hopeful quarters than in the sound sense, manly vigour, and solid execution of the robust if prosaic writers of the Age of Dryden.