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 longer than he knew. The work in literary criticism that was done by him, and by Sir James Fitzjames Stephen, was unlike most of the criticism of the last age. Amid a crowd of treatises which directed attention chiefly to the manner of an author, it was a solid comfort to come across a critic who made it his business to grasp the matter, and who paid even a poet the compliment of supposing that he had something to say. There is no finer literary model than bare matter of fact; and Leslie Stephen's style, 'the lean, terse style' as it has been called, constantly aimed at this perfection. The Dictionary of National Biography, under his control, became a gymnasium for authors, a gymnasium where no one was permitted to exercise his muscle until he had stripped himself of those garments which ordinary literary society expects authors to wear. It was Leslie Stephen's aim to prove that this avoidance of superfluity is not the negation of criticism. He was nothing if not critical, but he endeavoured to identify his criticism with the facts, to make it the wall of the building, not a flying buttress. When he relaxed something of his rigour and severity, as he did in his latest studies, his ease was like Dryden's, the ease of an athlete; and the native qualities of his mind, his sincerity and kindliness and depth of feeling, are nowhere more visible than in his latest and best prose. He still keeps close to his subject, but he permits himself an indulgence which he had formerly refused, and sometimes, for a few delightful sentences, speaks of himself.

There is no need for haste in estimating his work and his services to good letters. These will not soon be forgotten. I like to think that he would have approved my choice of a subject for the first of the lectures associated with his name. His enjoyment of books, he