Giuseppe Baretti is a writer of extraordinary modernity. The first European writer of Italian language and culture: I am aware that I am and therefore able to compare from peers to the international literature of our own time. Baretti’s Italian response to the debates of his century’s culture is becoming more and more important, every time he looks at his thoughts and work in the complexity of the theoretical and formal problems he was trying to address. All the European literations that languages emit to their works, in a need for analysis, comparison and responsible interpretation, which it plans Baretti today. His view captures the reality with new attention; and, in the urgent need to broaden literature horizons, new subjectivity is strongly needed in the genders that are most congenial: literary criticism and travel literature, to name just two. It involves, above all, the admixture of literary genders, in a diverse set of records. The criticism is also intertwined with self-biography and narrative, comic and irony, parody and invention, theatre and story, etc., so that the literary frusness appears very original in its multi-foresight dimensions and the richness of international sources; from Baretti always discussed and recreated in a very personal way, never improperly improperly imitate: Italians (such as SForce Pallavicino, Salvator Rosa, Giovanni Lami) English (e.g. Bacone and Butler), French (Boileau, Montaigne), Spanish (Cervantes). In particular, it is new that literary criticism is not only an exercise of language and style or ‘eloquency’, but also, and above all, of ethically oriented choice: this gives rise to the assertion of the importance of metaphysics and Antonio Genovesi’s reading. And, for us, the need for a new edition of the literary whips, taking into account the Barettiano use of upper and lower case, coursive and similar, in order to highlight the direction and meaning of a speech that seeks to base criticism on a method similar to the scientific method of Galileo, starting with the certain demonstration of language in its denotative and connightful values and the sensible experience of the contact persons to which it refers and with whom the subject must always be confronted with. Giuseppe Baretti: a recovered classic Giuseppe Baretti is a writer of extra-ordinary modernity. The first European writer of Italian language and culture: aware of it and, therefore, able to relate as equal with the international literature of his time. Barett’s Italian response to the cultural debts of his century giving more and more important, very time we present him thought and work, in the completeness of the theoretical and formal problems he tried to face. All the European literatures of which he knew the languages notified his works, in a need for analysis, comparison and responsible interpretation, which projects Baretti into our present. HE looks at reality with new attention; and, in the urgency of widening the literary horizons, a new Subjectivity imposed with force in its most genial GenRes: Literary criticism and travel literature, to name but two. And this Subjectivity is expressed, above all, in the mixture of literary GenRes, in a great variety of styles. Barett’s Autobiography and fiction, comedy and irony, Parody and invention, theatre and narrative, etc., are also intertwined in his criticism, in such a manner that La frusta literaria appears very original in its multi-perspective considerations and richness of international sources: by Baretti always discussed and reclassified in a very personal way, never imitated slavishly: Italian (as SForce Pallavicino, Salvator Rosa, Giovanni Lami), english (as Bacone and Butler), Brainch (Boileau, Montaigne), and Spanish sources (Cervantes). In particular, new is the idea that literary criticism is not only an exercise of language and style, or ‘Eloquence’, but also and above all of Ethically oriented choice. Hence the Assertion of the Importance of Metaphysics and the Reading of Antonio Genody’s work. And, to us, even the need for a new edition of La frusta literaria, able to take account of Barett’s use of upper and lower letters, Italy and so Mr All this meant emphasising the direction and meanings of a literary discourse supported to base criticism on a critical approach to the scientific one of Galileo, starting from the necessary demonstration of language with its denotative and connoctive values and from the sensible experience of the points of reference to which it is connected and what “substance” is always concerned with.