Is it too much to say that a Catholic novelist who would successfully break through these narrow-minded and false theories, and courageously inaugurate a new reign in Catholic fiction, would be conferring a great benefit on our generation? We claim for Mrs. Augustus Craven the merit of having achieved this feat. The mission which she began in the _Récit d’une Sœur_ was successfully continued in _Fleurange_, and may be said to triumph completely in _The Veil Withdrawn_. Her last novel is a book which appeals as strongly to the interest of the unbeliever and the heretic as of the most fervent Catholic. The moral lesson it conveys may be accepted or not, just as the reader pleases; it is there, brilliantly and powerfully delivered; but, like so many messages broadly written on the face of nature or faintly whispered to our hearts, we may hearken or we may close our ears to it, as we choose; the story still remains one of enthralling interest, full of tenderest romance, of fiery passion, of picturesque description, of sparkling repartee, of gay and pathetic and thrilling situations. With the skill of a real artist the author lifts the curtain and bids us look into the hearts of our fellow-creatures; she touches the hidden springs, reveals the dubious motives, evil sometimes blending with good so closely that it requires the finest analysis to discern their true proportions, to decompose the elements, and show where and how far each in turn prevails. The two characters who stand out from the canvas as the leading figures in the picture are brought face to face in the most terrible conflict that human hearts can know. Ginevra—not a child, not a placid convent maiden suspecting no life beyond her “narrowing nunnery walls,” but a woman with a strong, impassioned soul—is first inebriated with the pure wine of permitted happiness; the cup is dashed from her, and she tries to clutch it in defiance and despair. It eludes her still. She beholds her happiness wrecked, her life blighted, at the very outset. She does not take her rosary, and, with conventional propriety, accept the ruin of her young life with the resigned spirit and smiling countenance of a saint; far from it. The evil that is in her starts into activity and makes a fierce fight against her cruel lot. She plunges into the whirl of society, and tries to drown her misery in such consolations as excitement and gratified vanity can give. We follow her step by step in the perilous career, now trembling at her rashness, now rejoicing at her escape, but never, in the bottom of our hearts, believing that she will prove unworthy of her nobler self. Let us glance over the story, not to analyze its merits as a work of high art and moral philosophy, but simply to review it in the light of a novel characteristic of our times and full of the stir of nineteenth-century life.