Of the three, Gasparinetti would have the longest and most distinguished military career, although as with Foscolo and Ceroni, the political sentiments expressed in his poetry and oratory sometimes got him into trouble with his commanding officers.

Eugène de Beauharnais, Napoleon's Viceroy in Italy and the commander of the Armée d'Italie, later recalled that Gasparinetti, Foscolo, and Ceroni gave him more trouble than the rest of the army combined.

[2][3] Gasparinetti had inexplicably left the University of Padua in 1796 shortly before taking his final examinations and returned to his family's home in Ponte di Piave.

Over six feet tall and skilled in both firearms and horseback riding, he was given the rank of lieutenant in the newly formed light cavalry regiment (Chasseurs à Cheval).

Prior to his departure for the front, he married the opera singer Elisabetta Gafforini at the Chiesa di San Fedele in Milan on 1 April 1812.

Wounded at the Battle of Vyazma, he managed to survive by feigning death, even when a Russian soldier cut off his finger to steal his ring as he lay on the ground.

Their goal, according to Gian Bernardo Soveri Latuada, a lawyer and leading member of the Centri, was "to work for the moral and civil regeneration of the Italian people".

A number of Centri members, including Gasparinetti, Soveri Latuada, the physician Giovanni Rasori, Brigadier General Gaspare Bellotti, and severa other high-ranking ex-military officers, were involved in the Congiura di Brescia-Milano ("Brescia-Milan Conspiracy"), a plot to overthrow Austrian rule in northern Italy.

Earlier that year Gafforini had come out of retirement to sing at La Scala in the premiere of Il mistico omaggio, a cantata celebrating the return of Austrian rule which was performed in the presence of Archduke John of Austria.

He also wrote several poems during this time, including a sonnet, Tacea la notte, which was published in a collection marking the marriage of Agostino Nani and Pisana Savorgnan, members of two prominent families in the Veneto.

The literary critic Guido Mazzoni noted that despite the fluency of Gasparinetti's verse and its cultured style, Giannuccio e Cecilia was a particularly insipid example of the late 18th-century vogue for "naively erotic" novellas.

Consisting of four cantos containing sixty tercets each, the Apoteosi was one of the few Italian poetic works that attempted to chronicle Napoleon's exploits in detail.

Mazzoni described the play, which is based on the Greek myth of Byblis, as carefully versed, at times outstandingly so, and a work that was a credit to the culture and intelligence of its creator but lacking the true force of a tragedy.

Daru was viewed with great suspicion by the Austrians because of his close ties to Napoleon, his support for democratic ideals, and the praise he had received from the Italian patriot Silvio Pellico.

Mindful of the criticisms of Bibli's neoclassical subject, this time Gasparinetti chose a medieval historical theme more in tune with the Romantic movement taking hold in Italian literature.

An anonymous review in the journal Biblioteca italiana praised Gasparinetti for tackling the subject and his level of erudition but observed that the over-complexity of the plot at times detracted from the play's impact.