was not followed; but the Cardinal commissioned him to write the history of Florence. He had previously employed his leisure in the production of his memorable discourses on Livy, his comedy the Mandragola, and his life of Castruccio Castracani. In 1527 he was employed in fortifying Florence against an apprehended attack of the Imperial army, which fell upon Rome, and he afterwards accompanied the forces sent to make a show of delivering the Pope. During his absence the Medicean government was overthrown, an event highly agreeable to his secret wishes; but his compliances had rendered him odious to the patriotic party, and he returned to his native city to find himself the object of general aversion and suspicion. His mortification probably hastened his death, which took place on June 21, 1527.
Of all Machiavelli's writings the Prince is the most famous, and deservedly, for it is the most characteristic. Few subjects of literary discussion have occasioned more controversy than the purpose of this celebrated book. Some have beheld in it a manual for tyrants, like the memoirs of Tiberius, so diligently perused by Domitian; others have regarded it as a refined irony upon tyranny, on the sarcastic plan of Swift's Directions to Servants, if so humble an analogy be permissible. From various points of view it might alternately pass for either, but its purpose is accurately conveyed by neither interpretation. Machiavelli was a sincere though too supple a republican, and by no means desired the universal prevalence of tyranny throughout Italy. If he had written with the sole view of ingratiating himself with the Medici—probably in fact a subordinate motive with him, and the rather as there actually was a project for investing Giuliano de' Medici with the sovereignty of
