And that the genius was there, no man can doubt; one cannot read that "hideously eloquent" description of Kirk o' Field, which Mr. Burton has well chosen as a specimen of Buchanan's style, without seeing that we are face to face with a genius of a very lofty order: not, indeed, of the loftiest--for there is always in Buchanan's work, it seems to me, a want of unconsciousness, and a want of tenderness--but still a genius worthy to be placed beside those ancient writers from whom he took his manner. Whether or not we agree with his contemporaries, who say that he equalled Virgil in Latin poetry, we may place him fairly as a prose writer by the side of Demosthenes, Cicero, or Tacitus. And so I pass from this painful subject; only quoting--if I may be permitted to quote--Mr. Burton's wise and gentle verdict on the whole. "Buchanan," he says, "though a zealous Protestant, had a good deal of the Catholic and sceptical spirit of Erasmus, and an admiring eye for everything that was great and beautiful. Like the rest of his countrymen, he bowed himself in presence of the lustre that surrounded the early career of his mistress. More than once he expressed his pride and reverence in the inspiration of a genius deemed by his contemporaries to be worthy of the theme. There is not, perhaps, to be found elsewhere in literature so solemn a memorial of shipwrecked hopes, of a sunny opening and a stormy end, as one finds in turning the leaves of the volume which contains the beautiful epigram 'Nympha Caledoniae' in one part, the 'Detectio Mariae Reginae' in another; and this contrast is, no doubt, a faithful parallel of the reaction in the popular mind. This reaction seems to have been general, and not limited to the Protestant party; for the conditions under which it became almost a part of the creed of the Church of Rome to believe in her innocence had not arisen."