The genius of Cardinal de Retz had a right to paint a conclave (of 1665), in which he was a spectator and an actor (Memoires, tom. iv. p. 15 - 57); but I am at a loss to appreciate the knowledge or authority of an anonymous Italian, whose history (Conclavi de' Pontifici Romani, in 4to. 1667) has been continued since the reign of Alexander VII. The accidental form of the work furnishes a lesson, though not an antidote, to ambition. From a labyrinth of intrigues, we emerge to the adoration of the successful candidate; but the next page opens with his funeral.