To Cromwell, then, let us turn our attention. Him we also can admire. We admire his great practical sagacity, his eminent talents for war and for government, the moderation and the conscientiousness which, though a usurper and a zealot, he displayed in the use of power. He was, as we have said, a genuine Puritan. This must be understood, or no intelligible view of his character can be taken. It is not only hostility to his memory which has attributed to him a studied hypocrisy; the love of the marvellous has lent its aid. Such a supposition was thought to magnify his talents and his genius. It was more dramatic to make him the "honest Iago" of the piece. A French writer, M. Villemain, in his History of Cromwell, expresses this feeling very naively, and speaks of an hypocrisy "que l'histoire atteste, et qu'on ne saurait mettre en doute sans oter quelque chose a l'idee de son genie; car les hommes verront toujours moins de grandeur dans un fanatique de bonne foi, que dans une ambition qui fait des enthusiastes. Cromwell mena les hommes par la prise qu'ils lui donnaient sur eux. _L'ambition seule lui inspira des crimes, qu'il fit executer par le fanatisme des autres._" That he thus employed the spirit of the age without sharing it, is a theory which will not stand the light for a moment. Besides, it is not in this manner that history is transacted: we may all be puppets, if you will, upon the scene, but it is not in this fashion that any one man gets hold of the wires. The supposition, whatever honour it may do the genius of Cromwell, will do very little honour to the speculative genius of any writer who adopts it. But this is evident, that to whatever extent Cromwell shared the distempered feelings of a sectarian party, nothing ever clouded his penetration upon any affair of conduct, any question of means to an end. The hour never came that found him wanting. At every phase of the revolution he is there to lead, or control, or predominate over it.