He writes on the 'Revolution at Rome,' and on the 'Decline and Fall of the Empire,' with a masterly grasp on an obscure and complex subject. We entirely agree with him in his estimate of Julius Cæsar's motives and character; and while we acquit Brutus himself of any mean and sordid impulse, we cannot think that he served Rome or humanity in the 'taking off' of the Dictator. If we can trust Sallust at all, the nobles for whom Pompey fought were quite unfit to govern Rome. Our author's explanation of the final fall of the Empire has more than probability. The facts justify it to a large extent. Wherever population is at a standstill, we may be sure 'there is something rotten in the State,' and may confidently anticipate its dissolution. Is not the prostrate condition of France at the time we write another illustration of the truth? Have not similar causes there produced like effects? Our author's analysis of Milton's opinions and his critique on Milton's poetry, deserve perusal. He appreciates the solitary grandeur of the gentle and cultivated Puritan,--Titanic, yet not coarse. It is not easy to reconcile the utter disappointment, the deep heart-sorrow, of Milton's old age with his uniform hopefulness. All the more honour to him! There is nothing more paralyzing than despair. We doubt whether it should ever find utterance in a Christian's writing. We at once recognise the parallelism of Carlyle's position with Milton's in some aspects of it. We were taken aback to hear of Ruskin in a similar aspect, but our author makes out a good case for him too. Nothing can be juster in our view than the 'Essay on Art.' These 'elementary principles' must be recognised, one is apt to say, by all thoughtful men, and we are greatly indebted to the Professor for setting them forth so clearly. We cannot too soon adopt the principle that 'art is not always independent, but in some cases parasitic; and accordingly, in judging particular performances, in architecture and oratory, it is necessary to apply two standards in succession--the practical and the artistic ... the decisive test of merit "here" being art in subordination.'