I would point to three things in particular, out of many, which constitute the amended order. Of the incessant deluge of new and unsuspected matter I need say little. For some years, the secret archives of the papacy were accessible at Paris; but the time was not ripe, and almost the only man whom they availed was the archivist himself.[1] Towards 1830 the documentary studies began on a large scale, Austria leading the way. Michelet, who claims, towards 1836, to have been the pioneer,[2] was preceded by such rivals as Mackintosh, Bucholtz, and Mignet. A new and more productive period began thirty years later, when the war of 1859 laid open the spoils of Italy. Every country in succession has now allowed the exploration of its records, and there is more fear of drowning than of drought. The result has been that a lifetime spent in the largest collection of printed books would not suffice to train a real master of modern history. After he had turned from literature to sources, from Burnet to Pocock, from Macaulay to Madame Campana, from Thiers to the interminable correspondence of the Bonapartes, he would still feel instant need of inquiry at Venice or Naples, in the Ossuna library or at the Hermitage.[3]
These matters do not now concern us. For our purpose, the main thing to learn is not the art of accumulating material, but the sublimer art of investigating it, of discerning truth from falsehood and certainty from doubt. It is by solidity of criticism more than by the plenitude of erudition, that the study of history strengthens, and straightens, and extends the mind.[4] And the accession of the critic in the place of the indefatigable compiler, of the artist in coloured narrative, the skilled limner of character, the persuasive advocate of good, or other, causes, amounts to a transfer of government, to a change of dynasty, in the historic realm. For the critic is one who, when he lights on an interesting statement, begins by suspecting it. He remains in suspense until he has subjected his authority to three operations. First, he asks whether he has read the passage as the author wrote it.
