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stead of being, as in the other novels, unconsciously reproductive. The first two dealt with the history of the past, and one cannot help thinking that The Spanish Gypsy would have been almost as successful a reproduction as Romola if it had been written in a congenial medium. In these laborious research did the work that loving memory effected in the other novels. As the artist went to work more consciously, so the motive principle of her work came more to the surface. The leading conception of modern science as applied to man, the influence of hereditary transmission, was transmuted into the moral principle of the claims of race. In the novels of memory this had been disguised under the simpler form of family love. Maggie Tulliver's action at the end of The Mill on the Floss is entirely based on the claims of family as opposed to personal affection for Stephen Guest. 'Love is not enough' is the refrain, and this comes out still more strongly on the broader historic canvas of Romola and The Spanish Gypsy. The point of Tito Melema's treachery is the absence of hereditary connection with Florentine politics. Fedalma sacrifices everything to the claims of race. In Daniel Deronda the difficult task was attempted of raising contemporary events to a quasi-historic level. By the mere force of genius George Eliot strove