Remy de Gourmont is indeed so admirable an example of the type of culture I have briefly indicated that it is difficult to think of any form of intellectual activity which has not at one time or another received his attention. He has been a founder of reviews—among them the famous _Mercure de France_—and an editor of reviews. He has written prefaces for modern authors and for ancient authors—both poets and prose-writers. As a literary critic it is perhaps not too much to say that in his time and generation he ranks as Sainte-Beuve did in his. Under his name will be found five volumes of _Promenades Littéraires_, collections of essays dealing with the widest possible range of literary subjects—from Petronius to Guillaume de Machaut, from the Goliardi to the latest “roman passionnel.” His _Livres des Masques_ are one of the most considerable acquisitions to the criticism of French literature during the last quarter of the nineteenth century. In these two books will be found amazingly penetrating studies of men so diverse as the de Goncourt brothers and Maeterlinck, while American readers should be especially interested in his studies of the two Franco-American poets, Stuart Merrill and Francis Vielé-Griffin. As an admirer of Huysmans, M. Remy de Gourmont was naturally interested in the mystic, Christian Latin poets. And the fruit of several years’ study of these authors was that notable and unique book _Le Latin Mystique_. It is no exaggeration to say that hardly anyone else could have made these writers interesting to anyone but the specialist. One can almost imagine M. de Gourmont being challenged to produce a book which would appeal not only to savants but to the lover of general culture. This mystic Latin poetry had, until Huysmans’ day, been almost entirely neglected by students of beautiful things. But Remy de Gourmont, treating the subject as a poet in love with poetry—not as a pedant or a professor or a book-maker—has produced a work which is at once a criticism and an anthology of the literature produced during those thousand years which we ignorantly call the “Dark Ages.” These investigations into an almost forgotten and strangely attractive literature were not without effect upon his purely creative work. This effect can be best seen in his _Litanies_, a series of curious and, verbally, extremely beautiful prose-poems, full of assonances, of internal rhymes, of strange symbols, of sonorous rhythms and of fantastic images. Again in his prose, in works like _Le Pèlerin du Silence_ and _D’un Pays Lointain_; in his poetry—especially in _Les Saints du Paradis_—this influence is most marked.