sweetheart, and is finally restored to sight, Dumas saw in this novelette (as he tells us in "Bric-à-brac") the outline of a story after his own heart. He wrote to Conscience, asking permission to use this story as a basis, and this the flattered author readily granted. In order to acknowledge his indebtedness publicly Dumas gave the name of Conscience to the hero of his own story, which is a considerable elaboration on the original. Our author changed the locale to Villers-Cotterets, introduced his boyish recollections of Napoleon's flying visits to that village, indulged in a little contemporary history, made the love of the peasant for the land a powerful factor in the story, created Bastien, one of the leading characters, and gave to the new "Conscrit" many times the length and strength of the original.
"Catherine Blum," published in 1854, had a similar origin. It is said to have been suggested by Iffland's "Gardes Forestiers," but its charm lies in the description of the people and atmosphere of Villers-Cotterets, and in the simple art with which it is told. There is a pleasant portrait of Abbé Grégoire, one of the boy Alexandre's preceptors. Mr Swinburne tells us that amongst Dumas's minor works he admires chiefly this pair of pastoral pictures, "Conscience" and "Catherine Blum," and we believe that if they were known to the English-
