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 who has made the last night of the little princes in the Tower as terribly and pathetically real for the reader as Millais has made it for the spectator of the imminent tragedy. Why Shakespeare shrank from the presentation of it, and left to a humbler hand the tragic weight of a subject so charged with tenderness and terror, it might seem impertinent or impossible to conjecture—except to those who can perceive and appreciate the intense and sensitive love of children which may haply have made the task distasteful if not intolerable: but it is certain that even he could hardly have made the last words of the little fellows more touchingly and sweetly lifelike.

Were there nothing further to commend in the two parts of the historical play or chronicle history of 'King Edward IV.,' this would suffice to show that the dramatic genius of Heywood was not unjustified of its early and perilous venture: but the hero of these two plays is no royal or noble personage, he is plain Matthew Shore the goldsmith. We find ourselves at once in what Coleridge would have called the anachronic atmosphere of Elizabethan London; our poet is a champion cockney, whose interest is really much less in the rise and fall of princes than in the homely loyalty of shopkeepers and the sturdy