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 portrait at a sitting. On the contrary, the traits are scattered, the proportions disunited, the body dismembered, as it were; but in a moment some master-stroke is applied, some vivid flash of Promethean fire animates the canvass, and the perfect figure darts into life and expression: hence we have the surly, ferocious snarl of the Conqueror, and the brutal horse-laugh of Rufus. Malmesbury's history, indeed, may be called a kind of biographical drama; where, by a skilful gradation of character and variety of personage, the story is presented entire, though the tediousness of continued narrative is avoided. Again, by saying little on uninteresting topics, and dilating on such as are important, the tale, which might else disgust from the supineness or degeneracy of some principal actor, is artfully relieved by the force of contrast: and the mind, which perhaps recoils with indignation from the stupid indifference of an Ethelred, hangs, with fond delight, on the enterprising spirit and exertion of an Ironside.

It may be superfluous, perhaps, after enumerating qualities of this varied kind, in an author, who gives a connected history of England for several centuries, to observe, that readers of every description must derive instruction and delight from his labours. Historians, antiquaries, or philosophers, may drink deeply of the stream which pervades his work, and find their thirst for information gratified. The diligent investigator of the earlier annals of his own country, finds a period of seven hundred years submitted to his inspection, and this not merely in a dry detail of events, but in a series of authentic historical facts, determined with acuteness, commented on with deliberation, and relieved by pleasing anecdote or interesting episode. When the narrative flags at home, the attention is roused by events transacting abroad, while foreign is so blended with domestic history, that the book is never closed in disgust. The antiquary here finds ample field for amusement and instruction in the various notices of arts, manners, and customs, which occur. The philosopher traces the gradual progress of man towards civilization; watches his mental improvement, his advance from barbarism to comparative refinement; and not of man alone, but of government, laws, and arts, as well as of all those attainments which serve to exalt and embellish human nature. These are topics carefully, though perhaps only inci-