reason why historical works intended principally for the public should not be conceived in the same spirit as works designed for students and specialists, nor why they should not be composed in the same manner, apart from simplifications and omissions which readily suggest themselves. And, in fact, there are in existence succinct, substantial, and readable summaries, in which no statement is advanced which is not tacitly supported by solid references, in which the acquisitions of science are precisely stated, judiciously explained, their significance and value clearly brought out. The French, thanks to their natural gifts of tact, dexterity, and accuracy of mind, excel, as a rule, in this department. There have been published in our country review-articles and works of higher popularisation in which the results of a number of original works have been cleverly condensed, in a way that has won the admiration of the very specialists who, by their heavy monographs, have rendered these works possible. Nothing, however, is more dangerous than popularisation. As a matter of fact, most works of popularisation do not conform to the modern ideal of historical exposition; we frequently find in them survivals of the ancient ideal, that of antiquity, the Renaissance, and the romantic school.
The explanation is easy. The defects of the historical works designed for the general public—defects which are sometimes enormous, and have, with many able minds, discredited popular works as a class—are the consequences of the insufficient preparation or of the inferior literary education of the "popularisers."
A populariser is excused from original research; but he ought to know everything of importance that has been published on his subject, he ought to be up to date, and to have thought out for himself the