Our space does not permit us to follow M. de Montalembert, in his quotations from the letters and sermons of his friend, though there are in these letters many snatches of brilliant and tender eloquence on which we are much tempted to linger. It is not, however, in his productions that Lacordaire is most remarkable; it is in his character and career. “The principal thing is _to have a life_,” he himself said, when deprecating the over-production of modern literature; and no man has more exemplified the saying. He had a life, this man of conflict and strife, of self-denial and silence, of independence and duty—a life too human to make any formal anatomical consistency over-visible in its flesh-and-blood details—broadly contradictory, yet always in a harmony with itself more true than consistency. With his heart full of the agitations and the hopes of his time, he lived in his cloister in the practice of self-mortifications and punishments as severe as those with which any antique son of Dominic had subdued the flesh. “When all the events of this generous life shall be known, the orator will disappear before the monk,” says his sympathetic and admiring biographer, “and the _prestige_ of that eloquence which has moved, enlightened, and converted so many souls, will seem a less marvel than the formidable austerity of his life, the severity with which he chastised his flesh, and his passionate love for Jesus Christ.” This is the side of his character and existence least comprehensible to the English spectator. How he, so unimpassioned, so temperate, so sensible—he who had only loved glory, and nothing else, before he loved God—should have needed “excessive macerations” to subdue that flesh which, so far as appears, was far from exercising any despotic sway over the spirit, is a curious question, and one which perhaps never can be answered to the satisfaction of our practical understandings; but the interest, the individuality, and sincere nobleness of his life seem unquestionable. From his little convent he passes to the bar and public tribunal, where even the unwilling crowd applauds; to the pulpit, where admiring multitudes surround him; yet returns to his Visitandines and his almonry, obedient and silent, when the hour of his triumph is over. From the height of popular fame and success, driven by that noble intuition in his heart that he is not sufficiently using the talent God has given him, he withdraws to take up the monk’s frock, most despised of habits, not to hide a mortified life or wounded heart, as a sentimental bystander might suppose, but for the sake of the labour and use of which he believes it still capable. Deeply contradictory as such a proceeding is of all our convictions and theories, it is far from our thoughts to blame Lacordaire for this singular vestment in which he enwrapped all his later life. It may be that to the eyes of this languid and over-refining