‘This recital consists of about twenty lines, and then we read, ‘Here follows a copy of the declaration sent to king Charles of France by the lords assembled at Nevers, with the answers returned thereto by the members of the great council, and certain requests made by them.’ This title is followed by the declaration he has mentioned, and the answer the king made to the ambassadors who had presented it to him.—Now, can it be conceived that Monstrelet would have been silent as to the object of the assembly of nobles? or not have named some of those who had been present? and that, after having mentioned Nevers as the place of meeting, he should have passed over every circumstance respecting it, to the declarations and resolutions that had there been determined upon? There are two reasons for concluding that part of this chapter must be wanting: first, when Monstrelet returns to his narration, after having related the king’s answer to the assembled lords, he speaks as having before mentioned them, ‘the aforesaid lords,’ and I have just noticed that he names none of them; secondly, when in the next chapter he relates the expedition to Tartas, which was to decide on the fate of Guienne, as having before mentioned it, ‘of which notice has been taken in another place,’ it must have been in the preceding chapter,—but it is not there spoken of, nor in any other place. ‘If the numerous imperfections of Monstrelet are not made amends for, as I have said, by the beauty of his style, we must allow that they are compensated by advantages of another kind. His narration is diffuse, but clear,—and his style heavy, but always equal. He rarely offers any reflections,—and they are always short and judicious. The temper of his mind is particularly manifested by the circumstance that we do not find in his work any ridiculous stories of sorcery, magic, astrology, or any of those absurd prodigies which disgrace the greater part of the historians of his time. The goodness of his heart also displays itself in the traits of sensibility which he discovers in his recitals of battles, sieges, and of towns won by storm: he seems then to rise superior to himself,—and his style acquires strength and warmth. When he relates the preparations for, and the commencement of, a war, his first sentiment is to deplore the evils by which he foresees that the poorer ranks will soon be overwhelmed. Whilst he paints the despair of the wretched inhabitants of the country, pillaged and massacred by both sides, we perceive that he is really affected by his subject, and writes from his feelings. The writer of the cordelier register and the abbot of St Aubert, have not, therefore, said too much, when they called him, ‘a very honest and peaceable man.’ It appears, in fact, that benevolence was the marked feature of his character, to which I am not afraid to add the love of truth.