many of whose pictures now hang in the Luxembourg Gallery.

"Therese Raquin" originally came out under the title of "A Love Story"
in a paper called the "Artiste," edited by that famous art critic and
courtier of the Second Empire, Arsene Houssaye, author of "Les Grandes
Dames," as well as of those charming volumes "Hommes et Femmes du 18eme
Siecle," and many other works.

Zola received no more than twenty-four pounds for the serial rights of
the novel, and he consented at the insistence of the Editor, who pointed
out to him that the periodical was read by the Empress Eugenie, to draw
his pen through certain passages, which were reinstated when the story
was published in volume form. I may say here that in this translation,
I have adopted the views of the late M. Arsene Houssaye; and, if I have
allowed the appalling description of the Paris Morgue to stand, it is,
first of all, because it constitutes a very important factor in the
story; and moreover, it is so graphic, so true to life, as I have seen
the place myself, times out of number, that notwithstanding its horror,
it really would be a loss to pass it over.

Well, "Therese Raquin" having appeared as "A Love Story" in the
"Artiste," was then published as a book, in 1867, by that same Lacroix
as had issued Zola's preceding efforts in novel writing. I was living
in Paris at the time, and I well recall the yell of disapprobation with
which the volume was received by the reviewers. Louis Ulbach, then
a writer on the "Figaro," to which Zola also contributed, and who
subsequently founded and edited a paper called "La Cloche," when
Zola, curiously enough, became one of his critics, made a particularly
virulent attack on the novel and its author. Henri de Villemessant, the
Editor, authorised Zola to reply to him, with the result that a vehement