It is on the story of Constantinople that the popularity of Gibbon rests. The vast extent of the topic; the many splendid episodes it contains; its epic unity from the moment of the far-seeing selection of the city by Constantine to its last fall; its position as a link between Europe and Asia; its continuous history; the knowledge that through all that time it was, as now, a diadem by the water-side, a lure to be snatched by the wistful barbarian, a marvel to the West, a prize for the North and for the East;—these, and such as these ideas, are congenial topics to a style of pomp and grandeur. The East seems to require to be treated with a magnificence unsuitable to a colder soil. The nature of the events, too, is suitable to Gibbon’s cursory, imposing manner. It is the history of a form of civilisation, but without the power thereof; a show of splendour and vigour, but without bold life or interior reality. What an opportunity for an historian who loved the imposing pageantry and disliked the purer essence of existence! There were here neither bluff barbarians nor simple saints; there was nothing admitting of particular accumulated detail; we do not wish to know the interior of the stage; the imposing movements are all which should be seized. Some of the features, too, are curious in relation to those of the historian’s life: the clear accounts of the theological controversies, followed out with an appreciative minuteness so rare in a sceptic, are not disconnected with his early conversion to the scholastic Church; the brilliancy of the narrative reminds us of his enthusiasm for Arabic and the East; the minute description of a licentious epoch evinces the habit of a mind which, not being bold enough for the practice of license, took a pleasure in following its theory. There is no subject which combines so much of unity with so much of variety. It is evident, therefore, where Gibbon’s rank as an historian must finally stand. He cannot be numbered among the great painters of human nature, for he has no sympathy with the heart and passions of our race; he has no place among the felicitous describers of detailed life, for his subject was too vast for minute painting, and his style too uniform for a shifting scene. But he is entitled to a high—perhaps to a first place—among the orderly narrators of great events; the composed expositors of universal history; the tranquil artists who have endeavoured to diffuse a cold polish over the warm passions and desultory fortunes of mankind.