essay such as had never been attempted before, and has never since been reached. Leigh Hunt, clearing away all the didactic and pompous elements which had overgrown the essay, restored it to its old _Spectator_ grace, and was the most easy nondescript writer of his generation in periodicals such as the _Indicator_ (1819) and the _Companion_ (1828). The sermons, letters and pamphlets of Sydney Smith were really essays of an extended order. In Hazlitt and Francis Jeffrey we see the form and method of the essay beginning to be applied to literary criticism. The writings of De Quincey are almost exclusively essays, although many of the most notable of them, under his vehement pen, have far outgrown the limits of the length laid down by the most indulgent formalist. His biographical and critical essays are interesting, but they are far from being trustworthy models in form or substance. In a sketch, however rapid, of the essay in the nineteenth century, prominence must be given to the name of Macaulay. His earliest essay, that on Milton, appeared in the _Edinburgh Review_ in 1825, very shortly after the revelation of Lamb's genius in "Elia." No two products cast in the same mould could, however, be more unlike in substance. In the hands of Macaulay the essay ceases to be a confession or an autobiography; it is strictly impersonal, it is literary, historical or controversial, vigorous, trenchant and full of party prejudice. The periodical publication of Macaulay's Essays in the _Edinburgh Review_ went on until 1844; when we cast our eyes over this mass of brilliant writing we observe with surprise that it is almost wholly contentious. Nothing can be more remarkable than the difference in this respect between Lamb and Macaulay, the former for ever demanding, even cajoling, the sympathy of the reader, the latter scanning the horizon for an enemy to controvert. In later times the essay in England has been cultivated in each of these ways, by a thousand journalists and authors. The "leaders" of a daily newspaper are examples of the popularization of the essay, and they point to the danger which now attacks it, that of producing a purely ephemeral or even momentary species of effect. The essay, in its best days, was intended to be as lasting as a poem or a historical monograph; it aimed at being one of the most durable and precious departments of literature. We still occasionally see the production of essays which have this more ambitious aim; within the last quarter of the nineteenth century the essays of R.L. Stevenson achieved it. His _Familiar Studies_ are of the same class as those of Montaigne and Lamb, and he approached far more closely than any other contemporary to their high level of excellence. We have seen that the tone of the essay should be personal and confidential; in Stevenson's case it was characteristically so. But the voices which please the public in a strain of pure self-study are