incidents which heighten the interest, the words, the gestures,
the looks, are evidently furnished by the imagination of the
author. The fashion of later times is different. A more exact
narrative is given by the writer. It may be doubted whether more
exact notions are conveyed to the reader. The best portraits are
perhaps those in which there is a slight mixture of caricature,
and we are not certain that the best histories are not those in
which a little of the exaggeration of fictitious narrative is
judiciously employed. Something is lost in accuracy; but much is
gained in effect. The fainter lines are neglected but the great
characteristic features are imprinted on the mind for ever.

The History terminates with the death of Lorenzo de' Medici.
Machiavelli had, it seems, intended to continue his narrative to
a later period. But his death prevented the execution of his
design; and the melancholy task of recording the desolation and
shame of Italy devolved on Guicciardini.

Machiavelli lived long enough to see the commencement of the last
struggle for Florentine liberty. Soon after his death monarchy
was finally established, not such a monarchy as that of which
Cosmo had laid the foundations deep in the institution and
feelings of his countryman, and which Lorenzo had embellished
with the trophies of every science and every art; but a loathsome
tyranny, proud and mean, cruel and feeble, bigoted and
lascivious. The character of Machiavelli was hateful to the new
masters of Italy; and those parts of his theory which were in
strict accordance with their own daily practice afforded a
pretext for blackening his memory. His works were misrepresented
by the learned, misconstrued by the ignorant, censured by the