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Then future thousands crowd around their tomb,

And pilgrims, come from climes where they have known

The name of him who now is but a name,

Spread his, by him unheard, unheeded fame.

Mary felt how these beautiful lines were appropriate to more than one poet. Freedom from affectation, and a genuine love of her subject, make her biographies most readable, and for the ordinary reader there is a fund of information. The next life—that of Petrarch—is equally attractive; in fact, there is little that can exceed the interest of lives of these immortal beings when written with the comprehension here displayed. Even the complicated history of the period is made clear, and the poet, whose tortures came from the heart, is as feelingly touched on as he who suffered from the political factions of the Bianchi and the Neri, and who felt the steepness of other's stairs and the salt savour of other's bread. Petrarch's banishment through love is not less feelingly described, and we are taken to the life and the homes of the time in the living descriptions given by Mary. One passage ought in fairness to be given to show her enthusiastic understanding and appreciation of the poet she writes of:— Dante, as hath been already intimated, is the hero of his own poem; and the Divina Commedia is the only example of an attempt triumphantly achieved, and placed beyond the reach of scorn or neglect, wherein from beginning to end the author discourses concerning himself individually. Had this been done in any other way than the consummately simple, delicate, and unobtrusive one which he has adopted, the whole would have been insufferable egotism, disgusting coxcombry, or oppressive dulness. Whereas, this personal identity is the charm, the strength, the soul of the book; he lives, he breathes, he moves through it; his pulse beats or stands still, his eye kindles or fades, 'his cheek grows pale with horror, colours with shame, or burns with indignation; we hear his voice, his step, in