The number of volumes and essays written by Jules Claretie surpasses imagination, and it is, therefore, almost impossible to give a complete list. As a historian he has selected mostly revolutionary subjects. The titles of some of his prominent works in this field are ‘Les Derniers Montagnards (1867); Histoire de la Revolution de 1870-71 (second edition, 1875, 5 vols.); La France Envahie (1871); Le Champ de Bataille de Sedan (1871); Paris assiege and Les Prussiens chez eux (1872); Cinq Ans apres, L’Alsace et la Lorraine depuis l’Annexion (1876); La Guerre Nationale 1870-1871’, etc., most of them in the hostile, anti-German vein, natural to a “Chauvinist”; ‘Ruines et Fantomes (1873). Les Femmes de la Revolution (1898)’ contains a great number of portraits, studies, and criticisms, partly belonging to political, partly to literary, history. To the same category belong: Moliere, sa Vie et ses OEuvres (1873); Peintres et Sculpteurs Contemporains, and T. B. Carpeaux (1875); L’Art et les Artistes Contemporains (1876)’, and others. Quite different from the above, and in another phase of thought, are: ‘Voyages d’un Parisien (1865); Journees de Voyage en Espagne et France (1870); Journees de Vacances (1887)’; and others. It is, however, as a novelist that the fame of Claretie will endure. He has followed the footsteps of George Sand and of Balzac. He belongs to the school of “Impressionists,” and, although he has a liking for exceptional situations, wherefrom humanity does not always issue without serious blotches, he yet is free from pessimism. He has no nervous disorder, no “brain fag,” he is no pagan, not even a nonbeliever, and has happily preserved his wholesomeness of thought; he is averse to exotic ideas, extravagant depiction, and inflammatory language. His novels and tales contain the essential qualities which attract and retain the reader. Some of his works in chronological order, omitting two or three novels, written when only twenty or twenty-one years old, are: ‘Pierrille, Histoire de Village (1863); Mademoiselle Cachemire (1867); Un Assassin, also known under the title Robert Burat (1867); Madeleine Bertin, replete with moderated sentiment, tender passion, and exquisite scenes of social life (1868); Les Muscadins (1874, 2 vols.); Le Train No. 17 (1877); La Maison Vide (1878); Le Troisieme dessous (1879); La Maitresse (1880); Monsieur le Ministre (1882); Moeurs du Jour (1883); Le Prince Zilah (1884), crowned by the Academy four years before he was elected; Candidat!(1887); Puyjoli (1890); L’Americaine (1892); La Frontiere (1894); Mariage Manque (1894); Divette (1896); L’Accusateur (1897), and others. It is, perhaps, interesting to know that after the flight of the Imperial family from the Tuileries, Jules Claretie was appointed to put into order the various papers, documents, and letters left behind in great chaos, and to publish them, if advisable.