de Pierrot." This verdict also disposes of the tales "L'Homme aux Contes": "L'Histoire d'un casse-noisette," is, we know, an adaptation of Hoffmann's story of the same name.
Next to the plays, with which we have not dealt for reasons already given, and to the romances, come the travels—if not in importance, at least in originality. These volumes abound in gaiety, in brief sketches of dialogue, of history, of archaeology, of personal adventure—in short, they make a mélange, a savoury stew, with Dumas for cook! Parigot suggests that they should be called "Impressions produites par Dumas en Voyage," and declares "he is charming thus"; though with a touch of satire he adds, "one scarcely exaggerates when one says that the beauty of a country was to Dumas in proportion to the native admiration for his books." Of the first trip, "En Suisse" (1833), we have already given some account; then followed those on "La Midi de la France" and "Les Bords du Rhin" (1841), the former containing "La Chasse au Chastre" and other excellent reading; the latter, probably written with the help of Gerard de Nerval, telling, amongst other matter, of Waterloo and Marceau, of Rubens, and the devil-tempted architect of Cologne cathedral. Italy and the Mediterranean yielded the finest crop of "impressions," and there appeared in rapid succession "Une Année
