point of M. Feuillet's novel is, that Sibille, an ardent Catholic, stifles her love, and renounces her lover on account of his heterodox opinions. Madame Sand gives us the reverse—a heroine who is reflectively rather than mystically inclined, and whose lover by degrees succeeds in effecting her conversion to his more liberal views. Here, as elsewhere, the author's mind shows a sympathetic comprehension of the standpoint of enlightened Protestantism curiously rare among those who like herself have renounced Romanism for the pursuit of free thought and speculation. But even those who prefer the dénoûment of George Sand's novel to that of M. Feuillet's will not rank Mademoiselle La Quintinie very high among the author's productions. It is colourless, and artistically weak, however controversially strong.
Madame Sand, according to her own reckoning in 1869, had made at least £40,000 by her writings. Out of this she had saved no fortune. She had always preferred to live from day to day on the proceeds of her work, regulating her expenses accordingly, trusting her brain to answer to any emergency and bring her out of the periodical financial crises in which the uncertainty of literary gains and the liberality of her expenditure involved her. She continued fond of travelling, especially of exploring the nooks and corners of France, felt by her to be less well known than they deserve, and fully as picturesque as the spots
