Thureau-Dangin and Dufeuille. Paul de Cassagnac wrote, in a pugilistic vein, for the Pays. Edouard Hervé, after contributing to the Journal de Paris, founded le Soleil, the first great halfpenny newspaper which ever reached a large circulation. Édouard Hervé was a solid and experienced journalist, a self-controlled debater, courteous and incisive, but always opportune and precise. At the time of the "fusion" his words often had the authority of a judgment.

M. Détroyat secured for the Liberté a lively and independent style, throwing it into the mêlée between the various parties. M. Janicot was the editor of the Gazette de France and, under the inspiration of Mgr. Dupanloup, worked ardently for the movement which brought the Right towards "fusion."

The Gaulois, sometimes Imperialist and sometimes Royalist, disappeared one day and reappeared the next.

The official organs of Legitimism were l'Union, managed by M. Laurentie and the Ultramontane Univers of which Louis Veuillot was the glory. An impetuous, brutal journalist, whose verve and ardour came from Rabelais and Voltaire through Joseph de Maistre, Louis Veuillot was at the same time an exquisite writer and a violent Christian; he distributed holy water as though it were vitriol and handled the crucifix like a club.

Popular

A wider vulgarisation aimed at deeper Press masses; the the halfpenny paper reached further than the great press. Great importance attributed to police-court news, cleverly-worded sensational information, the attractions of a "feuilleton" novel, an intentional neutrality and

necessary mediocrity provided suitable pabulum for the simple-minded. The success was immense. The Petit Journal was sent forth in editions of 500,000 copies in 1872, of nearly a million in 1880. The chronicles of Timothée Trimm (Léo Lespès) and the novels of Ponson du Terrail had more readers than ever any great chef-d'œuvre of human genius.

Competition soon arose. Émile de Girardin bought la France in 1874 and sent it forth like a meteor. Édouard Hervé, with le Soleil, gave for a moment an illusion of popularity to Conservative parties. La Lanterne, of which the first number appeared on April 23rd, 1877, addressed itself to the people and scattered amongst them the seed of Radical ideas.

News agencies-Haras, Girodeau, E. Daudet, E. Privat, Saint Chéron-sent parliamentary news into the provinces, feeding party debates.

Provincial

The provinces, slow to make a start, Press were now moving in their turn. The papers which were founded or developed in the large towns, rivalled the Parisian press. Though the main direction and initiative still came from the centre, the effects produced in the departments, and the echo which came back to parliamentary circles, were not a negligible quantity. It is in such swirls that opinion finds shape and that aspirations become prominent.

By degrees the provinces asserted their influence over Paris and reaped the benefit of having more consistency in ideas, greater numbers, and more tenacity.

Among those papers which contributed, by a consistent action, to the evolution of minds and to the progress of public affairs, it is well to quote

the following:-La Gironde, at Bordeaux ; Le Phare de la Loire, at Nantes; Le Sémaphore, at Marseilles ; le Journal de Rouen; l'Écho du Nord, at Lille; le Progrès, Le Lyon Républicain, le Salut public, le Petit Lyonnais, at Lyons; la Dépêche, le Messager, le Midi Républicain, l'Emancipateur, at Toulouse; Le Petit Dauphinois, le Réveil du Dauphiné, at Grenoble; le Journal de Marseille, le Petit Marseillais, le Petit Provençal, at Marseilles; Le Courrier de la Champagne, l'Indépendant Rémois, at Reims ; le Bien Public, le Petit Bourgnignon, le Progrès de la Côte d'Or, at Dijon, etc., etc.

Now there is not a village where the paper is not anxiously expected and read in the monotonous evenings. The elector wishes to know in order to appreciate and to pass judgment. Even if the pabulum offered to him is commonplace, indigestible, or unwholesome, he insists on choosing it for himself.

The organ again, in this case, has created a function. The progress of printing and of the Press determined a new disposition in the individual and in society. The sense of information is a sixth sense, of which the public henceforth makes use as of sight, touch, and hearing.

Thoughts and emotions, drawn by the whirl of life into the last arteries, the furthest nerves of the social body, develop within it a constant excitement and unceasing enthusiasm and energy.

CHAPTER XII

ARTS SCIENCE

I.-French art after the war-The art of cities-ArchitectureSculpture-Painting.

II.-Music-The influence of Wagner-The French School. III. Science Scientific work in France-Higher Science The principle of "Unity"- Astronomy - Mathematics-Mechanics-Physics-Chemistry-Organic Chemistry: Berthelot-Physiology: Claude Bernard-Natural History-Anthropology and Paleontology-The Problem of LifePasteur-Microbiology-Cosmic Forces-Darwinism-Evolution-Medicine and Hygiene.

Philosophy of Art

E

I

ACH generation is ignorant of itself. Its physiognomy, its traits of character, escape its own observation. Details hide the whole; that which is temporary conceals that which is permanent.

However, whilst life is yet prolonged, a certain distinction is already made between the ephemeral and the durable, and this first selection is made by means of Art.

Art is the most obvious manifestation of the desire for survival which is proper to humanity. Art writes down the progress of human works and the successive victories of Will over Nature, since it

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rests on technique. Art manifests the energy of an epoch, since excellence alone satisfies it. In fact, Art, better than reality itself, expresses the characteristics of a generation, since, beyond the fact, it also registers dreams and aspirations.

Each nation sets its mark, its signature, on stone and on iron. The ideal which it conceived breathes in marble, like a fixed gesture revealing a vanished secret. The art of an epoch carries its soul along a sunbeam towards the Infinite.

A work of art is the impression made by man on Nature, the cast of himself which he leaves behind him. As, in the Madrid museum, we calculate the bulk of the Emperor Charles V. by the armour which he wore, so former ages appear to future generations according to the proportions of the impressions which they have left. A monument is the eternity of one moment.

The costumes Man wore, the jewels with which he adorned himself, the gardens he cultivated, the roads he traced, the temples he built, the images with which he adorned these temples, the luxuries he enjoyed, the smallest object which occupied his clever hands for one day or which brought a smile to a woman's face-all these are, like handwriting, a measure and a record of those extinct ages of which thumb-marks remain.

the War

Thirty years is a very short period in Art After which to distinguish from the daily flight of ephemeral things, the features which will delineate the profile of a the profile of a generation of which half is still living. A further outlook, a slow and minute choice, is required, which years alone can accomplish.