in the "Elgin Marbles," No. 103, (vol. ii. p. 26,) is remarkable for its breadth and massiveness of development. 100 "Say first, for heav'n hides nothing from thy view." --"Paradise Lost," i. 27. "Ma di' tu, Musa, come i primi danni Mandassero a Cristiani, e di quai parti: Tu 'l sai; ma di tant' opra a noi si lunge Debil aura di fama appena giunge." --"Gier. Lib." iv. 19. 101 "The Catalogue is, perhaps, the portion of the poem in favour of which a claim to separate authorship has been most plausibly urged. Although the example of Homer has since rendered some such formal enumeration of the forces engaged, a common practice in epic poems descriptive of great warlike adventures, still so minute a statistical detail can neither be considered as imperatively required, nor perhaps such as would, in ordinary cases, suggest itself to the mind of a poet. Yet there is scarcely any portion of the Iliad where both historical and internal evidence are more clearly in favour of a connection from the remotest period, with the remainder of the work. The composition of the Catalogue, whensoever it may have taken place, necessarily presumes its author's acquaintance with a previously existing Iliad. It were impossible otherwise to account for the harmony observable in the recurrence of so vast a number of proper names, most of them historically unimportant, and not a few altogether fictitious: or of so many geographical and genealogical details as are condensed in these few hundred lines, and incidentally scattered over the thousands which follow: equally inexplicable were the pointed allusions occurring in this episode to events narrated in the previous and subsequent text, several of which could hardl