If a company of giants were got together, very likely one or two of the mere six-feet-six people might be angry at the incontestable superiority of the very tallest of the party: and so I have heard some London wits, rather peevish at Macaulay’s superiority, complain that he occupied too much of the talk, and so forth. Now that wonderful tongue is to speak no more, will not many a man grieve that he no longer has the chance to listen? To remember the talk is to wonder: to think not only of the treasures he had in his memory, but of the trifles he had stored there, and could produce with equal readiness. Almost on the last day I had the fortune to see him, a conversation happened suddenly to spring up about senior wranglers, and what they had done in after life. To the almost terror of the persons present, Macaulay began with the senior wrangler of 1801–2–3–4, and so on, giving the name of each, and relating his subsequent career and rise. Every man who has known him has his story regarding that astonishing memory. It may be he was not ill-pleased that you should recognize it; but to those prodigious intellectual feats, which were so easy to him, who would grudge his tribute of homage? His talk was, in a word, admirable, and we admired it. Of the notices which have appeared regarding Lord Macaulay, up to the day when the present lines are written (the 9th of January), the reader should not deny himself the pleasure of looking especially at two. It is a good sign of the times when such articles as these (I mean the articles in _The Times_ and _Saturday Review_) appear in our public prints about our public men. They educate us, as it were, to admire rightly. An uninstructed person in a museum or at a concert may pass by without recognizing a picture or a passage of music, which the connoisseur by his side may show him is a masterpiece of harmony, or a wonder of artistic skill. After reading these papers you like and respect more the person you have admired so much already. And so with regard to Macaulay’s style there may be faults of course--what critic can’t point them out? But for the nonce we are not talking about faults: we want to say _nil nisi bonum_. Well--take at hazard any three pages of the _Essays_ or _History_;--and, glimmering below the stream of the narrative, as it were, you, an average reader, see one, two, three, a half-score of allusions to other historic facts, characters, literature, poetry, with which you are acquainted. Why is this epithet used? Whence is that simile drawn? How does he manage, in two or three words, to paint an individual, or to indicate a landscape? Your neighbour, who has _his_ reading, and his little stock of literature stowed away in his mind, shall detect more points, allusions, happy touches, indicating not only the prodigious memory and vast learning of this master, but the wonderful industry, the honest, humble previous toil of this great scholar. He reads twenty books to write a sentence;