Many other names might be added to the list of Reboul's literary acquaintances. Montalembert, at whose request he paraphrased in verse the famous article published in the _Correspondant_, "Une Nation en deuil," a plea for Poland written by the author of _The Monks of the West_; Père Lacordaire, Mgr. Dupanloup, M. de Falloux, Mme. Récamier, Mme. de Beaumont, a graceful poetess, Canonge, his fellow-poet of Nîmes, Charles Lenormand, and hosts of others. Artists too he held in great honor: Sigalon, a painter full of promise, of a poor family in Nîmes, and whom Reboul characterizes as one who, had he lived, would have been a modern Michael Angelo; Orsel, of whom he speaks in these enthusiastic terms: "I showed my friends some of Orsel's sketches, which they found more _true_ and more _holy_ than Raphael's style. I will not go so far, for the judgment of ages and of so many connoisseurs unanimously proclaiming the supremacy of the great Italian is a stronger authority in my eyes than the exclamation of a few men in a given moment of enthusiasm. Still I was astounded. Some vague remorse seized me when I reflected that I had regarded this man with indifference, not yet knowing his works! But when I think that I actually read so many of my bad verses to one who had before his mind's eye such holy and beautiful types, and that he was good enough to listen patiently, it is not admiration, but veneration that I feel towards him." Reber, the musician, who in 1853 was deservedly elected member of the _Institut de France_, and Rose, a young sculptor, whose Christian genius was worthy of being placed in contrast (in his admirable _bassi-relievi_ of the Stations of the Cross in the church of S. Paul, at Nîmes) with the perfection of Hippolyte Flandrin's magnificent frescos, were also among Reboul's artistic friends. In a comparison instituted by our poet between popular and high art, we find the following pungent comment: "M. Courbet has painted women fitted, by the rotundity of their dimensions, to be exhibited at a fair, and his name is incessantly in the papers. On the other hand, M. Ingres is seldom if ever mentioned!" Reboul's voluminous letters to M. de Fresne trace unconsciously a most noble moral portrait of the writer. Here are a few characteristic touches, putting in relief his manliness and freedom from petty vanities or weak susceptibilities. There was not the shadow of a meanness in Reboul's mind; his soul was simplicity itself, and was rather like those dark, deep waters of some of the American lakes, at whose bottom every pebble is distinctly visible.