Concerning Charles Mandel, the dead artist, it was found that he was a native of Styria, in Austria; that his parents and all his relatives were exceedingly poor; that he had worked his way up from a place as a farmer’s boy to a position as attendant in the baths at Gastein, and thence he had found his way to Munich, and to the School of Fine Arts there. He had taken a good rank in the Academy, and after several years’ study, supporting himself meanwhile on a small government subsidy and by the sale of pen-and-ink sketches, he began to paint pictures. When he had saved money enough he came to Paris, where he had lived about eighteen months. His character was unimpeachable. He lived quietly, and rarely went out of the quarter; was never seen at the balls in the old windmill on the summit of Montmartre, nor did he frequent the Élisée Montmartre, the skating rink, the Cirque Fernando, nor any other place of amusement in the neighborhood. The little Café du Rat Mort, in the Place Pigalle, was the only café he visited, and in this he was accustomed to pass an hour or two every evening in company with his friend, the sculptor Paul Benner. He was not known to have any enemies, there was no suspicion that he was connected with the Internationalists, and the only reason he had been remarked at all as an individual was because he spoke French badly, and always conversed in German with his friend Benner. The information concerning the latter was a great deal more accurate and precise. A great deal of it, however, was irrelevant. He was born in Strasburg, in 1849, and began the study of his profession there. He came to Paris when he was twenty years old, and entered the Académie des Beaux Arts. After he had finished the course he set up his studio in Montmartre, and had already exhibited successful works in three _salons_. He had a great many friends in the city, and was well spoken of by all who knew him. The only thing that could possibly be urged against him was the fact that he seemed very little disturbed at the idea of being a Prussian subject. But he was consistently cosmopolitan, as his intimate friendship with the Austrian and his equally close relations with fellow-students in the Beaux Arts abundantly proved.