onment, the dexterous incorporation of details, and delicate blending of local colours. Severe pedagogic handling of a historic novel, as if it were a paper done at some competitive examination, was too much for the old school, which finally subsided into cheap popular editions, making way for a new class of writers that adapted the Novel of Adventure to the requirements of latter-day taste, to the widening of knowledge, and the diversified expansion of our national life. The prevailing tendency was now to confine the range of scene and action more and more approximately to the contemporary period, to insist on genuine materials, and to observe a stricter canon of probabilities, wherein the discriminating reader fancied himself to be a judge. The use of notes was discarded as contrary to the high artistic principle that in fiction everything must resemble reality while nothing must be demonstrably matter of fact. The appearance of famous personages must be occasional, after the manner of gods in an epic poem;
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