The most likely way of attracting men’s attention to historical subjects will be by presenting them with small portions of history, of great interest, thoroughly examined. This may give them the habit of applying thought and criticism to historical matters. For, as it is, how are people interested in history? and how do they master its multitudinous assemblage of facts? Mostly, perhaps, in this way. A man cares about some one thing, or person, or event, and plunges into its history, really wishing to master it. This pursuit extends: other points of research are taken up by him at other times. His researches begin to intersect. He finds a connection in things. The texture of his historic acquisitions gradually attains some substance and colour; and so at last he begins to have some dim notions of the myriads of men who came, and saw, and did not conquer—only struggled on as they best might, some of them—and are not. When we are considering how history should be read, the main thing perhaps is, that the person reading should desire to know what he is reading about, not merely to have read the books that tell of it. The most elaborate and careful historian must omit, or pass lightly over, many points of his subject. He writes for all readers, and cannot indulge private fancies. But history has its particular aspect for each man: there must be portions which he may be expected to dwell upon. And everywhere, even where the history is most laboured, the reader should have something of the spirit of research which was needful for the writer: if only so much as to ponder well the words of the writer. That man reads history, or anything else, at great peril of being thoroughly misled, who has no perception of any truthfulness except that which can be fully ascertained by reference to facts; who does not in the least perceive the truth, or the reverse, of a writer’s style, of his epithets, of his reasoning, of his mode of narration. In life, our faith in any narration is much influenced by the personal appearance, voice, and gesture of the person narrating. There is some part of all these things in his writing; and you must look into that well before you can know what faith to give him. One man may make mistakes in names, and dates, and references, and yet have a real substance of truthfulness in him, a wish to enlighten himself and then you. Another may not be wrong in his facts, but have a declamatory or sophistical vein in him, much to be guarded against. A third may be both inaccurate and untruthful, caring not so much for anything as to write his book. And if the reader cares only to read it, sad work they make between them of the memories of former days.