as setting a new literary trend, commissioned the work, on which Rose had already made a start, for part publication. There was a later edition in the Bohn Library (1864, 2 vols.). Margaret Fuller told Charles Sumner in the 1840s that Rose's translation, better than the one he had been reading by John Hoole, was in fact the best. A modern view calls it "lumpen and over-literal", and it is not preferred to the Elizabethan version of John Harington. The Court and Parliament of Beasts (1819), was a free verse translation from Gli Animale Parlanti of Giovanni Battista Casti. Philip Hobsbaum in the Oxford Dictionary of National Biography called this animal tale Rose's main claim to critical attention. It is divided into seven cantos, each prefaced by a personal dedication. The dedications were addressed, in order, to: Ugo Foscolo; John Hookham Frere (called "our British Berni"); his Hampshire house Gundimore; Henry Hallam; Bartholomew Frere; Sir Robert Ainslie, 1st Baronet; and Walter Scott. The 1819 edition by John Murray was preceded by a limited one, by William Bulmer (1816), which Rose may have shown Byron who knew the work by 1818. Other works were: The Naval History of the Late War (1802, vol.1 only) A translation of Amadis de Gaul (1803). This was in rhymed verse, and a free and concise translation from the first three books of the French romance (from the Spanish) by Herberay des Essarts. Rose added notes, in the style of Gregory Lewis Way, editor of French fabliaux. A translation of Partenopex de Blois (1807), from the French of Pierre Jean-Baptiste Legrand d'Aussy. Benjamin Disraeli lampooned Rose in Vivian Grey as Partenopex Puff. The Crusade of St. Louis and Edward the Martyr (1810), ballads. Apology, or Anecdotes of Monkeys (1815) The Prospectus and Specimen of an Intended National Work (1817), pseudonymous. It was published for Rose by John Hookham Frere, as by William and Robert Whistlecraft. See above. Letters from the North of Italy (1819, 2 vols.), travel writing. The discursive letters were addressed to Henry Hallam. They include pro-Napoleon sentiments, and mention the satirical poet Giuseppe Parini. Translation into prose, with some verse passages, of the Orlando Innamorato of Boiardo, from the Italian prose of Francesco Berni, 1823. This work amounted to a dry run for the Orlando Furioso translation, and was prompted by Henry Vassall-Fox, 3rd Baron Holland. Thoughts and Recollections by One of the