Octave Feuillet’s iconological record certainly does not arrest attention by any curious, startling, or hitherto unpublished elements. We have no childish or youthful portraits, nothing but the cold countenance of the man who had already "arrived;" no whimsical artistic sketch, not even any satirical caricature, to compromise, enliven, or give a Bohemian touch to the dignified attitude and severe correctness of the writer of the _Revue des Deux Mondes_. It is, we think, to be regretted. Octave Feuillet remains an over-official figure for us, bearing too obviously the stamp of the photographer’s solemn poses, and sacramental "Quite still, please." OCTAVE UZANNE.