of M. Zola's Trilogy.

Having thus dealt with the Trilogy's religious aspects, I would now speak
of "Paris," its concluding volume. This is very different from "Lourdes"
and "Rome." Whilst recounting the struggles and fate of Abbe Froment and
his brother Guillaume, and entering largely into the problem of Capital
and Labour, which problem has done so much to turn the masses away from
Christianity, it contains many an interesting and valuable picture of the
Parisian world at the close of the nineteenth century. It is no
guide-book to Paris; but it paints the city's social life, its rich and
poor, its scandals and crimes, its work and its pleasures. Among the
households to which the reader is introduced are those of a banker, an
aged Countess of the old /noblesse/, a cosmopolitan Princess, of a kind
that Paris knows only too well, a scientist, a manufacturer, a working
mechanician, a priest, an Anarchist, a petty clerk and an actress of a
class that so often dishonours the French stage. Science and art and
learning and religion, all have their representatives. Then, too, the
political world is well to the front. There are honest and unscrupulous
Ministers of State, upright and venal deputies, enthusiastic and cautious
candidates for power, together with social theoreticians of various
schools. And the /blase/, weak-minded man of fashion is here, as well as
the young "symbolist" of perverted, degraded mind. The women are of all
types, from the most loathsome to the most lovable. Then, too, the
journalists are portrayed in such life-like fashion that I might give
each of them his real name. And journalism, Parisian journalism, is
flagellated, shown as it really is,--if just a few well-conducted organs
be excepted,--that is, venal and impudent, mendacious and even petty.

The actual scenes depicted are quite as kaleidoscopic as are the
characters in their variety. We enter the banker's gilded saloon and the