in ample recognition of Joseph Priestley's unwavering confidence that all things were ordered for the best; and then of his piety, which prompted him to say, as he looked back upon his life: 'I am thankful to that good Providence which always took more care of me than ever I took of myself."

CONCERNING A RED WAISTCOAT

HERO-WORSHIP is appropriate only to youth. With age one becomes cynical, or indifferent, or perhaps too busy. Either the sense of the marvelous is dulled, or one's boys are just entering college and life is agreeably practical. Marriage and family cares are good if only for the reason that they keep a man from getting bored. But they also stifle his yearnings after the ideal. They make hero-worship appear foolish. How can a man go mooning about when he has just had a good cup of coffee and a snatch of what purports to be the news, while an attractive and well-dressed woman sits opposite him at breakfast-table, and by her mere presence, to say nothing of her wit, compels him to be respectable and to carry a level head? The father of a family and husband of a federated club woman has no business with hero-worship. Let him leave such folly to beardless youth.

But if a man has never outgrown the boy that was in him, or has never married, then may he do this thing. He will be happy himself, and others will be happy as they consider

him. Indeed, there is something altogether charming about the personality of him who proves faithful to his early loves in literature and art; who continues a graceful hero-worship through all the caprices of literary fortune; and who, even though his idol may have been dethroned, sets up a private shrine at which he pays his devotions, unmindful of the crowd which hurries by on its way to do homage to strange gods.

Some men are born to be hero-worshipers. Théophile Gautier is an example. If one did not love Gautier for his wit and his goodnature, one would certainly love him because he dared to be sentimental. He displayed an almost comic excess of emotion at his first meeting with Victor Hugo. Gautier smiles as he tells the story; but he tells it exactly, not being afraid of ridicule. He went to call upon Hugo with his friends Gérard de Nerval and Pétrus Borel. Twice he mounted the staircase leading to the poet's door. His feet dragged as if they had been shod with lead instead of leather. His heart throbbed; cold sweat moistened his brow. As he was on the point of ringing the bell, an idiotic terror seized him, and he fled down the stairs, four steps at a time, Gérard and Pétrus after him, shouting with laughter. But the third attempt was successful. Gautier saw Victor Hugo and lived. The author of Odes et Ballades was

just twenty-eight years old. Youth worshiped youth in those great days.

Gautier said little during that visit, but he stared at the poet with all his might. He explained afterwards that one may look at gods, kings, pretty women, and great poets rather more scrutinizingly than at other persons, and this too without annoying them. 'We gazed at Hugo with admiring intensity, but he did not appear to be inconvenienced.'

What brings Gautier especially to mind is the appearance within a few weeks of an amusing little volume entitled Le Romantisme et l'éditeur Renduel. Its chief value consists, no doubt, in what the author, M. Adolphe Jullien, has to say about Renduel. That noted publisher must have been a man of unusual gifts and unusual fortune. He was a fortunate man because he had the luck to publish some of the best works of Victor Hugo, Sainte-Beuve, Théophile Gautier, Alfred de Musset, Gérard de Nerval, Charles Nodier, and Paul Lacroix; and he was a gifted man because he was able successfully to manage his troop of geniuses, neither quarreling with them himself nor allowing them to quarrel overmuch with one another. Renduel's portrait faces the title-page of the volume, and there are two portraits of him besides. There are fac-similes of agreements between the great publisher and his geniuses. There is a famous caricature of Victor Hugo

with a brow truly monumental. There is a caricature of Alfred de Musset with a figure like a Regency dandy, a figure which could have been acquired only by much patience and unremitted tight-lacing; also one of Balzac, which shows that that great novelist's waist-line had. long since disappeared, and that he had long since ceased to care. What was a figure to him in comparison with the flesh-pots of Paris!

One of the best of these pictorial satires is Roubaud's sketch of Gautier. It has a teasing quality, it is diabolically fascinating. It shows how great an art caricature is in the hands of a

master.

But the highest virtue of a good new book is that it usually sends the reader back to a good old book. One can hardly spend much time upon Renduel; he will remember that Gautier has described that period when heroworship was in the air, when the sap of a new life circulated everywhere, and when he himself was one of many loyal and enthusiastic youths who bowed the head at mention of Victor Hugo's name. The reader will remember, too, that Gautier was conspicuous in that band of Romanticists who helped to make Hernani a success the night of its first presentation. Gautier believed that to be the great event of his life. He loved to talk about it, dream about it, write of it.

There was a world of good fellowship among