exceptions may be placed Jules Sandeau (1811-1883), who, after writing a certain number of novels in a less individual style, at last made for himself a special subject in a certain kind of domestic novel, where the passions set in motion are less boisterous than those usually preferred by the French novelist, and reliance is mainly placed on minute character drawing and shades of colour sober in hue but very carefully adjusted (_Catherine_, _Mademoiselle de Penarvan_, _Mademoiselle de la Seigliere_). In the same class of the more quiet and purely domestic novelists may be placed X. B. Saintine (1798-1865) (_Picciola_), Madame C. Reybaud (1802-1871) (_Clementine_, _Le Cadet de Colobrieres_), J. T. de Saint-Germain (_Pour en epingle_, _La Feuille de coudrier_), Madame Craven (1808-1891) (_Recit d'une soeur_, _Fleurange_). Henri Beyle (1798-1865), who wrote under the _nom de plume_ of Stendhal and belongs to an older generation than most of these, also stands by himself. His chief book in the line of fiction is _La Chartreuse de Parme_, an exceedingly powerful novel of the analytical kind, and he also composed a considerable number of critical and miscellaneous works. Of little influence at first (though he had great power over Merimee) and never master of a perfect style, he has exercised ever increasing authority as a master of pessimist analysis. Indeed much of his work was never published till towards the close of the century. Last among the independents must be mentioned Henry Murger (1822-1861), the painter of what is called Bohemian life, that is to say, the struggles, difficulties and amusements of students, youthful artists, and men of letters. In this peculiar style, which may perhaps be regarded as an irregular descendant of the picaroon romance, Murger has no rival; and he is also, though on no extensive scale, a poet of great pathos. But with these exceptions, the influences of the two writers we have mentioned, sometimes combined, more often separate, may be traced throughout the whole of later novel literature. George Sand began with books strongly tinged with the spirit of revolt against moral and social arrangements, and she sometimes diverged into very curious paths of pseudo-philosophy, such as was popular in the second quarter of the century. At times, too, as in _Lucrezia Floriani_ and some other works, she did not hesitate to draw largely on her own personal adventures and experiences. But latterly she devoted herself rather to sketches of country life and manners, and to novels involving bold if not very careful sketches of character and more or less dramatic situations. She was one of the most fertile of novelists, continuing to the end of her long life to pour forth fiction at the rate of many volumes a year. Of her different styles may be mentioned as fairly characteristic, _Lelia_, _Lucrezia Floriani_, _Consuelo_, _La Mare au diable_, _La Petite Fadette_, _Francois le champi_, _Mademoiselle de la Quintinie_.