Almost numberless are the studies of Flaubert's method in composing his books. A small library could be filled by books about his style. We have seen the reproductions of the various drafts that he made in the description of Emma Bovary's visit to Rouen. Armand Weil, with a patience that is itself Flaubertian, has shown us the variations in the manuscript of Salammbô (see, _Revue Universitaire_, April 15, 1902). Yet, compared with Balzac's spider-haunted, scribbled-over proofs, Flaubert's seem virginal of corrections. The one reproduced here is from two pages of original manuscript that I was lucky enough to secure at Paris in 1903. They contain instructions to the printer, as may be seen, and demonstrate Flaubert's sharp eye; in every instance his changes are an improvement. One of the arguments in favour of the last version of the Temptation is its shrinkage in bulk from the 1856 manuscript. The letter, hitherto unpublished--for it will not be found in the six volumes of the Correspondence--is possibly addressed to his niece, Caroline Hamard. Unusual for Flaubert is the absence of any date; he was scrupulous in giving hour, day, month, and year, in his letters. The princess referred to is the Princess Mathilde Bonaparte-Demidoff, the patron of artists and literary men, an admirer of Flaubert's. He often dined with her at Saint-Gratien. Madame Pasca the actress was also a friend and visited Croisset when he fractured his leg. He had a genius for friendships with both women and men. His mother, often telling him that his devotion to style had dried up his natural affections, admitted that he had a bigger heart than head. And, after all, this motherly estimate gives us the measure of the real Flaubert. IV ANATOLE FRANCE I In the first part of that great, human Book, dear to all good Pantagruelists, is this picture: "From the Tower Anatole to the Messembrine were faire spacious galleries, all coloured over and painted with the ancient prowesses, histories and descriptions of the world." The Tower Anatole is part of the architecture of the Abbey of Thélème, in common with the other towers named, Artick, Calaer, Hesperia, and Caiere. For lovers of the exquisite and whimsical artist, Anatole France, a comparison to Rabelais may not appear strained. Anatole, the man, has written much that contains, as did the gracious Tower Anatole, "faire spacious galleries ... painted with ancient ... histories." He has in his veins some infusion of the literary blood of that "bon gros libertin," Rabelais, a figure in French literature who refuses to be budged from his commanding position, notwithstanding the combined prestige of Pascal, Voltaire, Rousseau, Chateaubriand, Hugo, and Balzac. And the gentle Anatole has a pinch of Rabelais's _esprit gaulois_, which may be found in both Balzac and Maupassant.