superficially it is true, yet with sufficient distinction, which Brantôme has. There is something individual about all the innumerable characters who move across his stage, and something thoroughly human about all, even the anonymous men and women, who appear for a moment as the actors in some too frequently discreditable scene. With all this there is a considerable vein of moralising in Brantôme which serves to throw up the relief of his actual narratives. He has sometimes been compared to Pepys, but, except in point of garrulity and of readiness to set down on paper anything that came into their heads, there is little likeness between the two. Brantôme was emphatically an ecrivain (unscholarly and Italianised as his phrase sometimes appears, if judged by the standards of a severer age), and some of the best passages from his works are among the most striking examples of French prose.
[From A Short History of French Literature. 6th Ed. Oxford. 1901.]
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