In one respect this foreign type was of great advantage to his work. Gibbon excels all other English historians in symmetry, proportion, perspective, and arrangement, which are also the pre-eminent and characteristic merits of the best French literature. We find in his writing nothing of the great miscalculations of space that were made [Pg 6274] by such writers as Macaulay and Buckle; nothing of the awkward repetitions, the confused arrangement, the semi-detached and disjointed episodes that mar the beauty of many other histories of no small merit. Vast and multifarious as are the subjects which he has treated, his work is a great whole, admirably woven in all its parts. On the other hand, his foreign taste may perhaps be seen in his neglect of the Saxon element, which is the most vigorous and homely element in English prose. Probably in no other English writer does the Latin element so entirely predominate. Gibbon never wrote an unmeaning and very seldom an obscure sentence; he could always paint with sustained and stately eloquence an illustrious character or a splendid scene: but he was wholly wanting in the grace of simplicity, and a monotony of glitter and of mannerism is the great defect of his style. He possessed, to a degree which even Tacitus and Bacon had hardly surpassed, the supreme literary gift of condensation, and it gives an admirable force and vividness to his narrative; but it is sometimes carried to excess. Not unfrequently it is attained by an excessive allusiveness, and a wide knowledge of the subject is needed to enable the reader to perceive the full import and meaning conveyed or hinted at by a mere turn of phrase. But though his style is artificial and pedantic, and greatly wanting in flexibility, it has a rare power of clinging to the memory, and it has profoundly influenced English prose. That excellent judge Cardinal Newman has said of Gibbon, "I seem to trace his vigorous condensation and peculiar rhythm at every turn in the literature of the present day."