But the most felicitous of the series is the "Decade of Italian Women." The idea of this work is worthy of a philosopher, and its execution, of a humane scholar. It has long been an accepted theory, that, to understand the talent and pervasive spirit of an age or country, we must look to the influence and character of the women. A subtile social atmosphere exhales from their presence and power in the state and the family; and the dominant elements of faith, as well as the tone of manners and the tendencies of character, find in the best endowed and most auspiciously situated of the sex, an embodiment and inspiration which are the most authentic, because the most instinctive, test and trait of the life of the time. Shakespeare has, with exquisite insight and memorable skill, illustrated this representative function of woman by creating types of female character which, while they modify and mould persons and events, preserve intact their essential quality of sex, and yet represent none the less the spirit and manners of their respective epochs. Scott has done the same thing in an historical direction, that Shakespeare realized in a psychological way. We regard it, therefore, as a most judicious experiment to indicate the characteristics of mediæval Italy by delineating her representative women. They inevitably lead us to the heart of things,--to the palace, the convent, the court, the vigil of battle, and the triumph of art,--to the loves of warrior, statesman, and priest,--to the inmost domestic shrine,--to the festival and the funeral; and all this we behold, not objectively, but through our vivid interest in a noble, persecuted, saintly, impassioned, or gifted woman, and thus partake, as it were, of the life of the age, realize its inspiration, recognize its meaning, in a manner and to a degree impossible to be derived from the formal narrative of events, without a central figure or a consecutive life which serves as a nucleus and a link, giving vital unity and personal significance to the whole.