[34] For a review of English historical fiction before Scott, consult
Professor Cross' "Development of the English Novel," pp. 110-114.

[35] "Familiar Studies of Men and Books," by R. L. Stevenson. Article,
"Victor Hugo's Romances."

[36] "Le Roman Historique à l'Epoque Romantique." Essai sur l'influence
de Walter Scott. Par Louis Maigron. Paris (Hachette). 1898, p. 331,
_note_. And _ibid_., p. 330: "Au lieu que les classiques s'efforçaient
toujours, à travers les modifications que les pays, les temps et les
circonstances peuvent apporter aux sentiments et aux passions des hommes,
d'atteindre à ce que ces passions et ces sentiments conservent de
permanent, d'immuable et d'éternel, c'est au contraire à l'expression de
l'accidentel et du relatif que les novateurs devaient les efforts de leur
art. Plus simplement, à la place de la vérité humaine, ils devaient
mettre la vérité locale." Professor Herford says that what Scott "has in
common with the Romantic temper is simply the feeling for the
picturesque, for colour, for contrast." "Age of Wordsworth," p. 121.

[37] De Quincey defines _picturesque_ as "the characteristic pushed into
a sensible excess." The word began to excite discussion in the last
quarter of the eighteenth century. See vol. i., p. 185, for Gilpin's
"Observations on Picturesque Beauty." See also Uvedale Price, "Essays on
the Picturesque as Compared with the Sublime and the Beautiful," three
vols., 1794-96. Price finds the character of the picturesque to consist
in roughness, irregularity, intricacy, and sudden variation. Gothic
buildings are more picturesque than Grecian, and a ruin than an entire
building. Hovels, cottages, mills, interiors of old barns are
picturesque. "In mills particularly, such is the extreme intricacy of