After thus passing in survey the England of our ancestors five or six generations back, the author closes his chapter with some eloquent remarks upon the progress of society. Contrasting the hardness and coarseness of the age of which he treats with the softer and more humane features of our own, he says: "Nowhere could be found that sensitive and restless compassion which has in our time extended powerful protection to the factory child, the Hindoo widow, to the negro slave; which pries into the stores and water-casks of every emigrant ship; which winces at every lash laid on the back of a drunken soldier; which will not suffer the thief in the hulks to be ill fed or overworked; and which has repeatedly endeavored to save the life even of the murderer. The more we study the annals of the past, the more shall we rejoice that we live in a merciful age, in an age in which cruelty is abhorred, and in which pain, even when deserved, is inflicted reluctantly and from a sense of duty. Every class, doubtless, has gained largely by this great moral change; but the class which has gained most is the poorest, the most dependent, and the most defenceless." The history itself properly commences at the close of this chapter. Opening with the deathscene of the dissolute Charles II., it presents a series of brilliant pictures of the events succeeding: The miserable fate of Oates and Dangerfield, the perjured inventors of the Popish Plot; the trial of Baxter by the infamous Jeffreys; the ill-starred attempt of the Duke of Monmouth; the battle of Sedgemoor, and the dreadful atrocities of the king's soldiers, and the horrible perversion of justice by the king's chief judge in the "Bloody Assizes;" the barbarous hunting of the Scotch Dissenters by Claverbouse; the melancholy fate of the brave and noble Duke of Argyle,--are described with graphic power unknown to Smollett or Hume. Personal portraits are sketched with a bold freedom which at times startles us. The "old familiar faces," as we have seen them through the dust of a century and a half, start before us with lifelike distinctness of outline and coloring. Some of them disappoint us; like the ghost of Hamlet's father, they come in a "questionable shape." Thus, for instance, in his sketch of William Penn, the historian takes issue with the world on his character, and labors through many pages of disingenuous innuendoes and distortion of facts to transform the saint of history into a pliant courtier.