of the writer's youth, and in the full and vivid description of the last days of Louis Quinze.
One of the books of Dumas which is destined to become more appreciated in the future than it has been in the past, is "Olympe de Clèves," which dates from 1852. It was written before he retired to Brussels, and Maquet is credited with a share in the work. We, for our part, believe that the extent of that writer's connection with this story begins—if it begins at all—and ends with the discovery of Lemazurier's biographies of the French actors, from which the career of Bannière is taken, and with the preparation of the historical material repecting the debauching of the young king, Louis Quinze. The charm of the story lies for once in the characters of the lovable hero and heroine, and the unhistorical parts of the book, describing the life of a strolling company of French actors, in the early eighteenth century. We should like to echo the sentiments of Mr W. E. Henley, who proclaims "Olympe de Clèves" a masterpiece.
Probably most readers of "Ange Pitou" (also known as "Taking the Bastille"), published in 1853, will have noticed that the story ends abruptly—that, in fact, it cannot be said to end at all. An anecdote told by M. Parigot offers an explanation of this. One day, it appears, Maquet, reader and explorer of the obscure, burst in upon Dumas with an
