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 poetic point of view. The one chance open even to Shakespeare would have been to invent, to devise, to create; not to modify, to adapt, to adjust. Bloody Mary has been transfigured into a tragic and poetic malefactress: but only by the most audacious and magnificent defiance of history and possibility. Madonna Lucrezia Estense Borgia (to use the proper ceremonial style adopted for the exquisitely tender and graceful dedication of the 'Asolani') died peaceably in the odour of incense offered at her shrine in the choicest Latin verse of such accomplished poets and acolytes as Pietro Bembo and Ercole Strozzi. Nothing more tragic or dramatic could have been made of her peaceful and honourable end than of the reign of Mary Tudor as recorded in history. The greatest poet and dramatist of the nineteenth century has chosen to immortalize them by violence—to give them a life, or to give a life to their names, which history could not give. Neither he nor Shakespeare could have kept faith with the torpid fact and succeeded in the creation of a living and eternal truth. One thing may be registered to the credit, not indeed of the dramatist or the poet, but certainly of the man and the Englishman: the generous fair play shown to Philip II. in the scene which records his impartial justice done upon the Spanish assassin of an English victim. There is a