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 as are required to light up the picture for a modern reader.

Another merit of Mr Froude's sketch is, that he has not sacrificed the secondary characters of his history to the hero. We may occasionally differ from him as to their relative importance or the particular complexion of each, but at least there has been a disposition to do impartial justice. Mommsen set the example of offering a holocaust of reputations at the shrine of his idol, and Mommsen's treatment of Cato, still more of Cicero, is one of the glaring blots upon his work. The imperial biographer of Cæsar dealt more mildly with the dilemma arising from the theory with which he set out; but the general result was that the disreputable persons who had helped Cæsar got off rather easily, and the respectable persons who had opposed him were fortunate if they came in for a little faint praise. Mr Froude surveys the period from a higher point of view, and, if generous to Cæsar, can still afford to be just to Cæsar's contemporaries. Pompey has sometimes been described by the adorers of Cæsar as a sort of anti-Christ, a false light, a lying spirit, an incarnate opposition to the truth. Mr Froude paints him in less imposing colours, as a mock hero who did not even know that he was a sham. "His end was piteous, but scarcely tragic, for the cause to which he was sacrificed was too slightly removed from being ignominious. He was no Phœbus Apollo sinking into the ocean, surrounded with glory. He was not even a brilliant meteor. He was a weak,