and does not allow itself under any condition to be diverted from it, because in the individual it finds all that interests it, and, in a word, the Whole."[5] This is the purport of the essay on _La Riforma della Storia artistica e letteraria_ (1917), and this is the method deliberately followed by Croce in his recent essays on Ariosto, Goethe, Shakespeare, Corneille and Dante, which ought to be studied not only as characterizations of the various poets, of the feeling or tonality which is peculiar to each of them and constitutes their æsthetic personality, but also as sources for the methodology of literary criticism. To his theory Croce brings a two-fold corroboration, first, from the observation of the fact that it coincides with a more and more widespread tendency in both literary and artistic history towards the monographic form, the individual essay, as the most effectual type of criticism; and second, from the analogy with other forms of history. All history, and not æsthetic history only, is essentially monographic; all history is the history of a given event or of a given custom or of a given doctrine, and all history reaches the universal only in and through the individual. The only obstacles to a general acceptation of this view are, on one side, a persistent inability to distinguish art from the practical and moral life and from philosophy, and on the other, a lack of scientific sense, through which science is regarded not as critical research, but as a material gathering of facts. Prospectuses, handbooks, dictionaries and encyclopedias are not the ideal of history: they are instruments of which we shall always make use as practical helps for the critical research; but what is living and real thought in them is but an echo of the actual thinking of individual problems.