read the portrait which he has limned with a bold brush of the last man, sole survivor and heir of a hundred successive civilisations, left to himself yet self-sufficient in the midst of his immense stores of science and art. He is happy as a god because he is omniscient and omnipotent, because he has just discovered the true answer of the Great Enigma, yet dying because he cannot survive humanity. By means of an explosive substance of extraordinary potency he blows up the globe with himself in order to sow the immensity of space with the last remnants of mankind. This system very naturally has a good many adherents. The graceful Hypatias, however, who form his female followers, idly lying round the master's stone, are agreed it would be proper to associate with the last man, the last woman, not less ideal than he. But what shall I say of art and poetry? Here to be just, praise must become panegyric. Let us limit ourselves to indicating the general tendency of the transformations that have taken place. I have related what has become of our architecture which has been turned "outside in", so to say, and brought into keeping with its surroundings, the idealised image in stone, the essence and consummation of former Nature. I shall not return to the subject. But I must still say a word about this immortal and overflowing population of statues, this wealth of frescoes, enamels, and bronzes which in concert with our poetry celebrate in this architectural transfiguration of the nether world the apotheosis of love. There would be an interesting study to make on the gradual metamorphoses that the genius of our painters and sculptors has imposed for the last three centuries on these traditional types of lions, horses, tigers, birds, trees and flowers, with which it is never weary of disporting itself, without being either helped or hindered by the sight of any animal or any plant. Never, in fact, have our artists, who protest strongly against being taken for photographers, depicted so many plants, animals and landscapes, than since these were no more. Similarly, they have never painted or sculptured so many draperies, since everyone goes about almost naked, while formerly at the time when humanity wore clothes the nude abounded in art. Does it mean that nature, now dead and formerly alive, from which our great masters drew their subjects and themes, has become a simple hieroglyphic and coldly conventional alphabet? No. Daughter to-day of tradition and no longer of productive nature, humanised and harmonised, she has a still firmer hold on the heart. If she recalls to each his day-dreams rather than his recollections, his imaginings rather than his impressions, his admiration as an artist rather than his terror as a child, she is only the better calculated to fascinate and subdue. She has for us the profound and intimate charm of an old legend, but it is a legend in which one believes.