For the first half of the sixteenth century probably no state in the world possesses a document like the magnificent description of Florence by Varchi.[171] In descriptive statistics, as in so many things besides, yet another model is left to us, before the freedom and greatness of the city sank into the grave.[172] This statistical estimate of outward life is, however, uniformly accompanied by the narrative of political events to which we have already referred. Florence not only existed under political forms more varied than those of the free states of Italy and of Europe generally, but it reflected upon them far more deeply. It is a faithful mirror of the relations of individuals and classes to a variable whole. The pictures of the great civic democracies in France and in Flanders, as they are delineated in Froissart, and the narratives of the German chroniclers of the fourteenth century, are in truth of high importance; but in comprehensiveness of thought and in the rational development of the story, none will bear comparison with the Florentines. The rule of the nobility, the tyrannies, the struggles of the middle class with the proletariate, limited and unlimited democracy, pseudo-democracy, the primacy of a single house, the theocracy of Savonarola, and the mixed forms of government which prepared the way for the Medicean despotism--all are so described that the inmost motives of the actors are laid bare to the light.[173] At length Macchiavelli in his Florentine history (down to 1492) represents his native city as a living organism and its development as a natural and individual process; he is the first of the moderns who has risen to such a conception. It lies without our province to determine whether and in what points Macchiavelli may have done violence to history, as is notoriously the case in his life of Castruccio Castracane--a fancy picture of the typical despot. We might find something to say against every line of the ‘Istorie Fiorentine,’ and yet the great and unique value of the whole would remain unaffected. And his contemporaries and successors, Jacopo Pitti, Guicciardini, Segni, Varchi, Vettori, what a circle of illustrious names! And what a story it is which these masters tell us! The great and memorable drama of the last decades of the Florentine republic is here unfolded. The voluminous record of the collapse of the highest and most original life which the world could then show may appear to one but as a collection of curiosities, may awaken in another a devilish delight at the shipwreck of so much nobility and grandeur, to a third may seem like a great historical assize; for all it will be an object of thought and study to the end of time. The evil, which was for ever troubling the peace of the city, was its rule over once powerful and now conquered rivals like Pisa--a rule of which the necessary consequence was a chronic state of violence. The only remedy, certainly