The author of this bust, a work elaborated and modelled after the manner of those executed by Pajou, Caffieri, and Falconnet in the eighteenth century (see the reproduction at the beginning of this volume), may congratulate himself on having given to Edmond de Goncourt's friends the most exquisite semblance of their lost comrade. Carriere, on the other hand, in his superb lithograph, where only the eyes are vivid, and Will Rothenstein, in a sketch from nature which represents the master with a high cravat round his throat, his chin resting on a hand of incomparable form and distinction, have reproduced, with great intensity and comprehension, Edmond de Goncourt grown old, but still robust, upright and gallant, a soldier of art in whom the creative faculty is by no means exhausted. Rothenstein's lithograph in particular, with the sort of morbid languor that pervades it, the mournful fixity of the gaze, the aristocratic slenderness of the hands and the features, surprises and startles the spectator. "By nature and by education," says M. Paul Bourget, "M. Ed. de Goncourt possesses an intelligence, the overacuteness of which verges on disease in its comprehension of infinitesimal gradations and of the infinitely subtle creature." Mr. Rothenstein has made this intelligence flash from every line of his drawing. Frederic Regamey, Bracquemond (in the fine drawing at the Luxembourg), De Nittis (in pastel), Raffaelli (in an oil painting), Desboutins (in an etching), and finally M. Helleu (in dry point), have striven to penetrate and preserve the subtle psychology of the master's grave, proud, and gentle countenance. With these distinguished names the iconography of the Goncourts concludes. Perhaps, as a light and graceful monument of memory, we might add the fine drawing made by Willette on the occasion of the Edmond de Goncourt banquet, which represents the elder brother standing, leaning against the pedestal of his brother's statue, while at his feet three creatures, symbolizing the principal forms of their inspiration, are grouped, superb and mournful. Who are they? No doubt _Madame de Pompadour_, the _Geisha_ of Japanese art, and finally, bestial and degraded, _La Fille Elisa_--types that symbolize the most salient aspects of that genius--historic, aesthetic, and fictional--which will keep green the precious memory of Edmond and Jules de Goncourt. OCTAVE UZANNE. [Illustration: EDMOND DE GONCOURT. Unpublished portrait from life, by Georges Jeanniot.]