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 the two other classes into three, and thus restored the ancient Academy of Sciences, French Academy, Academy of Inscriptions and Letters, the Academies of Painting and Sculpture. Hence grew the ambition to connect, in unbroken continuity, the defunct institution of a vanished monarchy and the new institution of the Directory. In 1803, it began the reactionary period, and posed as Royalist in sentiments and opinions. Sainte-Beuve defines the Academy as that of the reigning perpetual secretary.

What the Academy really remains is the home of tradition. Here the main thing is not intellect, but distinction; not genius, but the consummate perfection of expression. Urbanity is its hall-mark, and what it most dreads in originality is the abuse of novelty. You may have little to say; only see that your way of saying it cannot be bettered. It has been blamed for excluding from its ranks so much real genius; and this blame would, of course, be earned by it if its object were so much the recognition of genius as the welcome to its midst of a congenial spirit. Gautier, with his long hair and red waistcoat, was not a congenial spirit, though if finish of style, charm, urbanity, and exquisite grace are accounted academical graces, there never was a writer to whom the term "born academician" was more applicable. But the