But if Homer _refused admittance to new-personified beings_ as actors of his poem, has he contented himself entirely with monosyllabic animation of the inanimate, with roaring shores, remorseless stones, or maddening lances? The enormous image of _Discord_ in the fourth, the picturesque prosopopœia of _Prayers_ and _Guilt_ in the ninth, and the luxuriant episode of _Guilt_ again in the nineteenth book of the "Ilias," not only prove the contrary, but establish him beyond all competition, Milton perhaps excepted, as the first master of that poetic figure. The _Liberty_ of Petrarch, and the _Jealousy_ and _Hope_ of Lorenzo de' Medici, may with equal propriety adopt the names of _Health_, _Suspicion_, and _Curiosity_; but the _Litæ_ of Homer are images discriminated from all others, and will rank as models of true prosopopœia without the assistance of Hesiod, Æschylus, or the love-embodying romance of Apuleius. The Appendix to the first volume consists of forty-two pieces, and contains the political and literary documents of the history. Of these the papers relative to the conspiracy of the Pazzi, especially the commentarium of Poliziano, the brief of excommunication of Sixtus IV, the reply of the Florentine Synod, and the deposition of Giambattista de Montesicco before his execution, are the most interesting. One great prerogative of the author is, no doubt, that happy distribution of matter, by which the grave and the more amusing parts of the subject alternately relieve each other. Having left his reader "con la bocca dolce," at the conclusion of the first volume, Mr. R. at the beginning of the second, exhibits the rival of Petrarch, if not as the founder, at least as the first who gave action and energy to that conciliating system of politics, since denominated the balance of power, the darling maxim of modern statesmen.