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compensation in the number of musical versions there. Horace held his own in a different way with the advent of the Baroque and anti-classicism in the seventeenth century, particularly through lyric poetry. A new fashion for pastiches/parodies, especially in central Europe, warrants a sub-section, as do the printing firm Elzevier and the use of Horace (suitably expurgated) in schools. One of the epigraphs to Iurilli’s eighteenth century section reads: ‘Horace is quoted in the Senate, at the Bar, in elegant Books, and in elegant Society’ (i, 189). The eighteenth century, ‘il secolo d’Orazio’, confronts us with an evermore complex panorama of the responses to Horace in different cultural settings. Is he a moral exemplar, a libertine or a modern? Casanova’s friend or the arbiter of taste? Giuseppe Baretti proposed Horace’s ‘harmonious verses’ to the English musical public, and Pope’s imitations of the Satires and Epistles answered to a shared appetite for such satiric adaptations. The century’s watchword of taste extended to book production too: publishers (Baskerville, Didot, Bodoni) competed to produce ‘the handsomest Horace’. This book is a monument of patient, thorough and erudite scholarship. It will be of great value to anyone interested in the book as a transmitter of culture in the early modern, baroque and Enlightenment periods, both for the research it contains and for the further research it facilitates. fraNces muecKe, The University of Sydney