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+
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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #66036 (https://www.gutenberg.org/ebooks/66036)
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-The Project Gutenberg eBook of The Etchings of Charles Meryon, by Campbell
-Dodgson
-
-This eBook is for the use of anyone anywhere in the United States and
-most other parts of the world at no cost and with almost no restrictions
-whatsoever. You may copy it, give it away or re-use it under the terms
-of the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org. If you are not located in the United States, you
-will have to check the laws of the country where you are located before
-using this eBook.
-
-Title: The Etchings of Charles Meryon
-
-Author: Campbell Dodgson
-
-Editor: Charles Geoffre Holme
-
-Release Date: August 11, 2021 [eBook #66036]
-
-Language: English
-
-Character set encoding: UTF-8
-
-Produced by: Chuck Greif and the Online Distributed Proofreading Team at
-             http://www.pgdp.net (This file was produced from images
-             available at The Internet Archive)
-
-*** START OF THE PROJECT GUTENBERG EBOOK THE ETCHINGS OF CHARLES MERYON ***
-
-
-
-
-                    THE ETCHINGS OF CHARLES MERYON
-
-
-
-
-                            THE ETCHINGS OF
-                            CHARLES MERYON
-
-                   BY CAMPBELL DODGSON, M.A., C.B.E.
-                   KEEPER OF THE PRINTS AND DRAWINGS
-                         AT THE BRITISH MUSEUM
-
-
-                       EDITED BY GEOFFREY HOLME
-                PUBLISHED BY “THE STUDIO,” LTD., LONDON
-                                MCMXXI
-
-
-    _Printed by Herbert Reiach, Ltd.,
-    9 King Street, Covent Garden,
-    London. Photogravure plates
-    engraved and printed by A.
-    Alexander & Sons, Ltd., 15
-    Westmoreland Place, City Road,
-    London._
-
-
-
-
-CONTENTS
-
-
-ARTICLES                                                            Page
-
-Introduction                                                           1
-
-Early Life                                                             3
-
-The Early Etchings                                                     6
-
-The Etchings of Paris                                                  8
-
-Other Etchings of the ’Fifties                                        20
-
-The Late Etchings                                                     22
-
-List of Meryon’s Etchings                                             24
-
-
-LIST OF ETCHINGS REPRODUCED.[1]                                    Plate
-
-Charles Meryon. By Félix Bracquemond 9 × 5-7/8 in.                     1
-
-Titre des Eaux-fortes sur Paris (D.17), 6-1/2 × 4-15/16 in.            2
-
-Dédicace à Reynier Nooms, dit Zeeman (D.18), 6-15/16 × 2-3/4 in.       3
-
-Ancienne Porte du Palais de Justice (D.19), third state
-3-7/16 × 3-3/8 in.                                                     4
-
-Armes Symboliques de la Ville de Paris (D.21), third
-state, 5-3/8 × 4-3/8 in.                                               5
-
-Le Stryge (D.23), eighth state, 6-3/4 × 5-1/8 in.                      6
-
-Le Petit Pont (D.24), fifth state, 10-1/4 × 7-1/2 in.                  7
-
-L’Arche du Pont Notre-Dame (D.25), third state 6 × 7-3/4 in.           8
-
-La Galerie Notre-Dame (D.26), third state, 11-1/8 × 6-15/16 in.        9
-
-La Rue des Mauvais Garçons (D.27), third state, 5 × 3-7/8 in.         10
-
-La Tour de L’Horloge (D.28), third state, 10-5/16 × 7-1/4 in.         11
-
-Tourelle de la Rue de la Tixéranderie (D.29), second
-state, 9-3/4 × 5-3/16 in.                                             12
-
-Saint-Etienne-du-Mont (D.30), fifth state 9-3/4 × 5-1/8 in.           13
-
-La Pompe Notre-Dame (D.31), ninth state, 6-3/4 × 9-7/8 in.            14
-
-La Petite Pompe (D.32), second state, 4-1/4 × 3-1/8 in.               15
-
-Le Pont-Neuf (D.33), eighth state, 7-3/16 × 7-1/4 in.                 16
-
-Le Pont-au-Change (D.34), second state, 6-1/8 × 13-1/16 in.           17
-
-Le Pont-au-Change (D.34), ninth state, 6-1/8 × 13-1/16 in.            18
-
-L’Espérance (D.35), (Vers destinés à accompagner Le
-Pont-au-Change), 2-1/2 × 5 in.                                        19
-
-La Morgue (D.36), third state, 9-1/8 × 8-1/8 in.                      20
-
-L’Hôtellerie de la Mort (D.37), two plates each 4-3/4 × 1-3/8 in.     21
-
-L’Abside de Notre-Dame de Paris (D.38), fourth state,
-6-1/2 × 11-3/4 in.                                                    22
-
-Tombeau de Molière (D.40), second state, 2-5/8 × 2-3/4 in.            23
-
-Charles Meryon, 1858. By Léopold Flameng, 8-3/4 × 10-3/4 in.          24
-
-Tourelle de la Rue de L’Ecole.-de-Médecine (D.41),
-sixth state, 8-3/8 × 5-3/16 in.                                       25
-
-Tourelle de la Rue de L’Ecole.-de-Médecine (D.41),
-ninth state, 8-3/8 × 5-3/16 in.                                       26
-
-Rue des Chantres (D.42), first state, 11-3/4 × 5-7/8 in.              27
-
-Rue des Chantres (D.42), fourth state, 11-3/4 × 5-7/8 in.             28
-
-Collège Henri IV. (D. 43), sixth state, 11-5/8 × 18-7/8 in.           29
-
-Bain-froid Chevrier (D.44), fourth state, 5-1/8 × 5-5/8 in.           30
-
-Le Ministère de la Marine (D.45), first state, 6-5/8 × 5-3/4 in.      31
-
-Le Ministère de la Marine (D.45), fifth state, 6-5/8 × 5-3/4 in.      32
-
-Le Pont-Neuf et la Samaritaine (D.46), third state, 5-11/16 × 8 in.   33
-
-Le Pont-au-Change vers 1784, d’après Nicolle (D. 47),
-third state, 5-5/16 × 9-3/8 in.                                       34
-
-La Salle des Pas-perdus à l’ancien Palais-de-Justice
-(D.48), fourth state, 10-5/8 × 17-1/8 in.                             35
-
-Rue Pirouette aux Halles (D.49), third state, 6-1/8 × 4-9/16 in.      36
-
-Partie de la Cité vers la Fin du XVIIᵉ Siècle (D.51),
-seventh state, 6 × 12-5/8 in.                                         37
-
-L’Ancien Louvre, d’après une peinture de Zeeman
-(D.53), fifth state, 6-3/8 × 10-1/2 in.                               38
-
-Porte d’un ancien Couvent à Bourges (D.54), second
-state, 6-5/8 × 4-3/8 in.                                              39
-
-Rue des Toiles à Bourges (D.55), fifth state, 8-1/2 × 4-3/4 in.       40
-
-Ancienne Habitation à Bourges (D.56),
-fourth state, 9-5/8 × 5-7/16 in.                                      41
-
-Entrée du Couvent des Capucins à Athènes (D.61),
-third state, 7-5/8 × 5 in.                                            42
-
-Nouvelle-Calédonie. Grande case indigène sur le
-Chemin de Ballade à Poepo (D.67), fourth state,
-5-5/8 × 9-3/4 in.                                                     43
-
-Océanie, Pêche aux Palmes (D.68), fourth state, 6-1/4 × 13-1/4 in.    44
-
-La Chaumière du Colon (D.72), third state, 3-1/8 × 3 in.              45
-
-Prô-volant des Iles Mulgrave (D.74), fifth state, 5-3/4 × 3-1/8 in.   46
-
-L. J.-Marie Bizeul (D.83), fourth state, 6-1/2 × 4-5/8 in.            47
-
-
-
-
-PREFACE
-
-
-No modern author could write on Meryon without acknowledging in the
-amplest terms, as I do, his indebtedness to M. Loys Delteil’s monograph
-on this great etcher in his _Peintre-Graveur Illustré_ (1907). The
-biography which precedes it, and the quotations which it gives from
-Baudelaire and Burty, and from Meryon’s own comments on what Burty wrote
-about Meryon, make M. Delteil’s volume much more than a catalogue. The
-other books that I have chiefly consulted are Burty’s Catalogue of
-Meryon, translated by M. B. Huish (1879), and Aglaüs Bouvenne’s “Notes
-et Souvenirs sur Charles Meryon” (1883.) I have had no access to
-original documents, except the chief documents of all, the etchings
-themselves, or to books not generally known; but there may be readers,
-perhaps, who will welcome a brief account in English of Meryon’s career,
-an estimate of his rank as an etcher, and comments on all of his
-etchings that they have any need to know and admire. The originals of
-all the etchings reproduced in the plates, except the portrait by
-Bracquemond, are in the British Museum.
-
-                                                                  C. D.
-
-5 September, 1921.
-
-
-ERRATUM.--_Page 23, line 18 from top, for “February 4th” read “February
-14th.”_
-
-
-
-
-                    THE ETCHINGS OF CHARLES MERYON
-
-
-
-
-INTRODUCTION.
-
-
-A century has passed since the birth of Meryon, a circumstance which
-excuses, if it does not actually demand, a survey in retrospect of the
-great etcher’s work and the growth of his renown. There is no
-indication, it must be said at once, that the lapse of time has weakened
-in any degree the sure fabric of his fame. About no other modern etcher,
-save Whistler, is there an equal consensus of opinion among those whose
-opinion counts, that he ranks among the great masters of his art.
-Whistler himself was a dissentient; he spoke one day to Mr. Wedmore of
-“Meryon, whom you have taken out of his comfortable place.” Without
-insinuating that he was jealous of a _confrère_ with whom he was forced
-to share the honour of a Wedmore catalogue, it may be remarked that the
-utterances of such a lover of paradox as Whistler need not be taken too
-seriously. Nor is an artist always the best judge of a fellow artist who
-pursues very different aims from his own. Meryon’s reputation, though it
-is ungrudgingly admitted and admired by most etchers of to-day and
-yesterday, was established by the critics and collectors of a generation
-now extinct. Philippe Burty, who published the first critical article on
-Meryon and the first catalogue of his etchings in the _Gazette des
-Beaux-Arts_ of 1863, was the first to discern clearly and to proclaim to
-the world his peculiar genius. Charles Baudelaire and Théophile Gautier
-added their words of praise and the _Galerie Notre-Dame_ evoked the
-enthusiasm of Victor Hugo. Bracquemond, by twelve years his junior in
-age but his contemporary in the practice and mastery of etching, gave
-him all the support of his appreciation, and there was a small
-enlightened circle of collectors, including Wasset of the War Office,
-Niel of the Ministry of the Interior, Meryon’s former shipmate De
-Salicis, the English etcher Seymour Haden, and a few others who saw the
-great merit of his work from the first. But on the whole his reception
-in France was cool and discouraging; academic opinion at the time was
-unfavourable to original etching. The editor of the _Gazette des
-Beaux-Arts_ grudged admission to Burty’s essay and asked, if two
-articles were to be devoted to a modern etcher, how many would be needed
-for Raphael. His _Galerie Notre-Dame_ was refused by the Salon in 1853,
-and though many of his Paris etchings were exhibited there, they gained
-no prize. The public collections did not acquire his works and it was
-not till 1866 that Burty induced the Chalcographie Impériale at the
-Louvre to commission and publish one of his plates, _L’Ancien Louvre_,
-after Zeeman (plate 38). The stories told of the pitiful sums that he
-used to accept for proofs of his finest etchings, a franc and a half or
-two francs, sometimes, seem almost incredible now, when such proofs sell
-for hundreds of pounds. In a pathetic letter which he addressed in 1854
-to the Minister of the Interior, appealing to him for the support which
-he could not obtain from the public, he announced his intention of
-producing a set of ten etchings of Bourges, and charging fifteen francs
-for the set. He actually sold the whole series of his masterpieces,
-“Eaux-fortes sur Paris,” as a set, for twenty-five or thirty francs.
-They sold very slowly indeed. A receipt is extant from him for
-twenty-five francs paid by Baron Pichon in 1866, twelve years after the
-publication of the set, for “une suite de vues anciennes de Paris,
-gravées par moi à l’eau-forte, intitulées Eaux-fortes sur Paris.”
-
-It was not till 1910 that the first collective exhibition of Meryon’s
-etched work was held in Paris, at the Galerie Devambez. In England,
-where his fame was spread by Seymour Haden, Philip Gilbert Hamerton and
-Wedmore, Meryon’s reputation grew more rapidly, at least after his
-death. The great French private collections of his etchings crossed the
-Channel, Burty’s being sold in 1876, and the year 1879, eleven years
-after Meryon’s death, witnessed the publication of two different English
-catalogues of his etchings and the holding of a fine exhibition of his
-etchings and drawings at the Burlington Fine Arts Club, to which the
-Rev. J. J. Heywood was the largest contributor. Much later, in 1902, an
-important exhibition was held by Messrs. Obach & Co., while Messrs. P.
-and D. Colnaghi & Co., arranged another very fine Meryon exhibition in
-1919. The British Museum, fortunately, owes to the foresight of a former
-Keeper of Prints the early formation of a magnificent, though not
-complete, collection of Meryon, to which additions are still
-occasionally made, though they must needs be few now that a further
-stage in the migration of fine proofs is in progress and not the Channel
-only, but the Atlantic, parts them from their _pays d’origine_. The
-National Gallery of Scotland is fortunate in having obtained, by the
-gift of Mrs. G. R. Halkett, a small selection of very fine proofs of
-Meryon etchings, but Edinburgh’s gain is far less than was Glasgow’s
-loss by the sale, in 1916, of the collection of Mr. B. B. Macgeorge,
-which was undoubtedly the most complete work of Meryon ever brought
-together, containing, as it did, not merely almost every etching by the
-master in almost every state, but also a large number of his original
-drawings for the etchings of Paris. The year 1916 was an unfavourable
-time for acquiring such a valuable _œuvre_ for any national or municipal
-museum, and the Macgeorge collection went to America and was dispersed,
-only a small number of proofs remaining in, or returning to, this
-country, where, I suppose, no one collection of importance still remains
-except that of the British Museum. A Meryon exhibition is being held at
-the Museum this autumn to celebrate the centenary of the artist’s birth.
-
-
-
-
-EARLY LIFE
-
-
-The story of Meryon’s life has often been told, but those who do not
-know it may welcome a brief recapitulation of it here, and indeed some
-such narrative is needed for the comprehension of his work, which
-becomes much more interesting when something is known of the period and
-circumstances in which it was produced. Meryon was born in Paris on
-November 23rd, 1821, as the natural son of Dr. Charles Lewis Meryon, an
-English doctor, formerly physician and secretary to Lady Hester
-Stanhope, and an opera dancer, Pierre-Narcisse Chaspoux, aged
-twenty-eight, known as Mme. Gentil, who already had a daughter by an
-English peer. It was not till August 9th, 1824, that Dr. Meryon made a
-formal recognition of paternity and left a sum of money, on leaving
-France, for his son’s education. His mother brought him up with tender
-care, but he inherited from her apparently the mental disease with which
-he was afterwards afflicted; she died, out of her mind, in 1837 or 1838.
-At the age of five, under the name of Charles Gentil, he went to school
-at Passy, where he received some elementary lessons in drawing. A very
-childish drawing of houses, trees and a well, in red and black chalk, of
-which at a later period some one made a woodcut, is in the British
-Museum; by internal evidence one may judge it to be earlier than the
-elementary lessons. He went to Marseilles, Hyères, and to Italy, as far
-as Pisa and Leghorn; then returned to Paris till he made up his mind to
-go into the Navy, and, in 1837, entered the naval school at Brest. It
-was then that he adopted his father’s name of Meryon. Leaving the naval
-school in 1839, he sailed from Toulon in October in the _Alger_ for the
-Levant, and was transferred at Smyrna, as a first-class cadet, to the
-_Montebello_. He visited Argos, the tomb of Agamemnon and the lion gate
-at Mycenae, and at Athens made drawings of the frieze of the Temple of
-Theseus and of the Choragic Monument of Lysicrates which appears in his
-etching of the _Convent of the French Capuchins at Athens_, 1854 (plate
-42). On his return to Toulon he had further lessons in drawing. In 1842
-he went to sea again, being gazetted as “enseigne de vaisseau” to the
-corvette _Le Rhin_, which cruised about New Zealand, New Caledonia, and
-the islands of the Pacific. The fruits of these years of travel in
-Oceania may be seen in a number of etchings which he made in later life
-(Delteil 63-74). A multitude of pencil sketches made on his travels
-remained in his family’s possession till 1904, when they were given to
-the British Museum by Mr. Lewis Meryon. They include drawings of his
-shipmates, of native houses, fetishes and boats, palm trees and other
-vegetation, studies of skies and sunsets, with notes of colour, sketches
-of the flight of the albatross, drawings of fish and other fauna of the
-Pacific, and last, but not least, the original drawings for _Le malingre
-Cryptogame_ (D. 66) and _Tête de chien de la Nouvelle-Hollande_ (D. 65),
-the ship’s pet whose queer habits and tragic death by falling overboard
-before Meryon’s eyes are graphically described in one of his letters
-quoted at length in Burty’s memoir. Long afterwards, in conversations
-with Burty, Meryon used to say how his thoughts dwelt on the rocky coast
-of New Caledonia, where “he had met a race of savages, handsome, heroic,
-intelligent, where he had breathed an air overladen with balm, where, if
-he could, he should like one day to return to finish life free and
-happy.” On the return of _Le Rhin_ in 1846 Meryon received six months’
-leave and returned to Paris. He had scruples about his constitution
-being strong enough for the profession of a sailor; he neglected to ask
-for an extension of his leave, and in the end his resignation was
-accepted and he left the Service on September 17th, 1846. He was then in
-possession of a sum of 20,000 francs left to him by his mother. He took
-a studio and had lessons from a painter named Philippe. He has recorded
-his enthusiasm at this time for the pictures of Delacroix, Decamps and
-Hogarth, whose work he had seen during a short visit to England. After
-some experiments in allegory, inspired by the proclamation of the
-republic at the February revolution, he abandoned painting for
-engraving, and entered the studio of the etcher, Eugène Bléry, in 1848.
-A circumstance which affected this decision was the discovery that his
-eyesight suffered from the defect known as Daltonism, a partial
-colour-blindness.
-
-
-
-
-THE EARLY ETCHINGS
-
-
-Bléry as an etcher has little interest for us, but he was sufficiently
-skilled to impart in six months a sound technique to a pupil, whose
-interest in the art was fostered by the study of old etchings and
-especially those of the Dutch etcher of architecture and marine
-subjects, Renier Zeeman (1623-1663), which he used to pick up for a few
-sous in the boxes outside the printsellers’ shops. Meryon’s first
-etching of all was a head of Christ, founded on a miniature after
-Philippe de Champaigne; the only impression known of this etching is in
-the Howard Mansfield collection at New York. During the years 1849-50 he
-produced a number of copies after Loutherbourg, Salvator Rosa, Karel du
-Jardin and others, but Zeeman fascinated him above all in the double
-capacity of an etcher of marines and of views of old Paris, and it was
-from his style that he learnt most. While still with Bléry his mind is
-said to have been slightly unhinged by an unfortunate love affair with
-the daughter of a restaurant keeper, who would have nothing to say to
-him. In solitary wanderings about the old streets of Paris and
-meditations in his garret in the Rue St. Etienne-du-Mont, he formed
-plans for his series of etchings of old Paris and began to make studies
-for them. As early as 1850 one of these masterly plates, _Le Petit Pont_
-(plate 7), was finished.
-
-In making his studies of old houses and churches, Meryon seldom made a
-complete drawing on the spot. He would go every day at the same hour and
-make minutely finished studies of details on small bits of paper, which
-he either stuck together or made another drawing from them. He used an
-exceedingly sharp, hard pencil; the astonishing fineness of the line
-that he produced with it may be well seen in two early drawings of Rouen
-Cathedral from the Seine in the British Museum, which also possesses
-some of the drawings of architecture at Bourges, a place which first
-fascinated him on a visit made about 1848. In drawing architecture
-Meryon always worked upwards from the bottom of his object, saying that
-buildings were begun from the foundation and the artist should follow
-the same method as the builder. In the same way he would draw men from
-the feet upwards, saying that they must always be planted firmly on
-their feet before they began to do anything. _Le Petit Pont_ well
-illustrates another peculiarity of his practice in drawing architecture.
-He deliberately renounced any competition with the camera of the
-photographer, and claimed the right to arrange the different parts of
-what he drew in the manner best calculated to convey a certain
-impression, while preserving the utmost exactness in the representation
-of detail in each part. It has been observed, by those who know the spot
-well, that the towers of Notre-Dame, which dominate the whole
-composition, are much too high in the etching in regard to their actual
-dimensions and to the laws of perspective. After taking a drawing from
-very low down, near the edge of the water, Meryon drew the towers again
-from the level of the street, as the passer-by would habitually see
-them, and fitted this drawing with great skill into the former one,
-constructing by this combination a composition which produced the
-desired effect of impressive and majestic height, all the details being
-absolutely accurate, though on reflection it might be discovered that
-they could not all be seen at once.
-
-_Le Petit Pont_ is the first of his mature works, and marks an
-astonishing advance upon the exercises in copying other etchers which,
-with the exception of a few important portraits, are all that had
-preceded it. “Unimportant,” his own portrait, seated before an easel,
-could never have been, at least as a document, though it may have been
-immature, but we cannot judge of its quality, for Meryon destroyed it
-and preserved no proofs, and we only know of its existence from his own
-statement recorded by Burty. The only proof of his portrait of Eugène
-Bléry was destroyed by Bléry’s wife because she did not like it. Thus
-the only portrait of his quite early time which is actually extant is
-that of Edmond de Courtives, and of this only one impression, formerly
-in the Macgeorge collection, can actually be traced. It is a little
-medallion containing the head, reduced from an etching which according
-to Meryon’s own account was originally a half length, in which a violin
-and some chemical apparatus were introduced beside the sitter. It was an
-original etching, based on a drawing from life by Meryon himself.
-
-All the other portraits are of much later date, one belonging to the
-year 1856, the rest to 1861 or 1862 (plate 47). None of them are
-original etchings; they are founded on drawings by others, old prints or
-photographs, in one case on a medallion by David d’Angers; they are
-quite insignificant and we shall have no need to mention them again. The
-other etchings of 1849-50 would have no interest for us if anyone else
-but Meryon had etched them. It is only the four oblong subjects of Paris
-and its vicinity after Zeeman that count for something more, because
-they show very plainly on what Meryon formed his taste, and anticipate,
-in the proportions and _ordonnance_ of the plate and in the treatment of
-river boats and of the little figures on the banks of the Seine that we
-see in _Le Pavillon de Mademoiselle_ and in _La Rivière de Seine et
-l’angle du Mail_, habits that we shall soon come to regard, when we
-consider the original etchings of Paris, as specially characteristic of
-Meryon himself.
-
-
-
-
-THE ETCHINGS OF PARIS
-
-
-
-But when we come to _Le Petit Pont_ (plate 7), etched in the same year
-as these copies after Zeeman, and exhibited in the Salon of 1850, we are
-aware of quite a different vision, a different order of intellect, as
-well as greater perfection of technical skill. It is becoming difficult
-for us after the lapse of seventy years, in which so many other etchers
-have been working on Meryon’s lines, to realise how new, how
-epoch-making in the strict sense of the word, was such an etching as _Le
-Petit Pont_ in 1850. There had been fine engravers and etchers of
-architecture before Meryon; there had been Hollar, there had been
-Canale, Piranesi and Rossini. But they in their different degrees were
-facile and fluent, rhetorical, diffuse, commercial, in comparison with
-the severe, tense, concentrated style of Meryon. In his “Eaux-Fortes sur
-Paris,” which extend in date from 1850 to 1854, he achieved a body of
-work which led the way in what is called the modern revival of etching
-and in its own special style has never been surpassed, though other
-etchers have triumphed in other styles of etching which were entirely
-outside Meryon’s limited compass. Not only was he in advance of all the
-other notable etchers of his generation, but he had finished this series
-of masterpieces before the others had begun to produce anything of
-importance. Millet began to etch in 1855; Whistler’s Paris set dates
-from 1858; Haden, though he had etched in the forties, did little that
-really counts till about 1858. Jacque and Daubigny were working before
-Meryon, but they are hardly in the same class. It was consonant with
-Meryon’s brooding, introspective temperament that he took the work of
-etching very seriously. He acquired a profound knowledge of the
-technique of the art and applied it, in the case of all his important
-etchings, with conscientious thoroughness. Disdaining anything like a
-sketchy treatment of his subject, he built up the whole design
-laboriously, painfully, with tireless perseverance, after making the
-most conscientious studies of detail. He was, in fact, by habit and
-temperament more an engraver than an etcher, though he used the etching
-process instead of attacking the copper with a burin.
-
-But nothing that I have yet said explains what there is in Meryon that
-makes us regard him as a great artist. Any etcher might have taken all
-these pains and yet remained to the end nothing but an industrious
-plodder. It was the combination, in Meryon, of this high degree of
-mechanical skill with a fine instinct for design and the poet’s vision
-which was still more specially his prerogative, that places him in a
-different category from a Lalanne, a Martial-Potémont or an Edwin
-Edwards. The old streets of Paris were not, for him, merely storehouses
-of picturesque motives, structures composed of walls and porticoes,
-gables and spires, on which the sun arranged at different times of day
-different patterns of light and shade; they were that, certainly, and
-his etcher’s eye, trained to observe niceties of gradation between black
-and white rather than varieties of actual colour, took full advantage of
-their hitherto unexplored wealth of suggestion. Leaving all metaphor out
-of court, his actual eyesight was astonishingly keen; he saw details of
-architecture with the naked eye which would be revealed to average
-persons only by a telescope. But to him the streets of Paris were
-haunted places, peopled with ghosts and wet with tears. Their atmosphere
-was infected by old crimes and miseries and sins. The lonely meditations
-of a brain already morbid, affected even when he was a boy by the
-discovery that he was a bastard, suspicious in later life and shrinking
-from human intercourse, were reflected in the melancholy which seems, to
-sympathetic observers, to brood over the dark narrow streets, survivors
-of a mediæval Paris, much of which was doomed to destruction in the
-great demolitions and reconstructions of the Second Empire. But Meryon
-did not trust entirely to sympathetic observation to discern his
-meaning. He expressed himself directly in verses, which were meant to be
-published, and in some cases actually were published, along with the
-architectural etchings, to explain what reflections the subjects aroused
-in the etcher’s mind. Sometimes these verses were etched at the foot of
-the subject itself, as in the fourth state of _Le Stryge_; more often
-they were etched on separate plates, in cursive writing, with little
-ornaments and rather elaborate capitals, the stanzas carefully spaced in
-a decorative arrangement. They may be seen reproduced, so far as they
-were actually etched, in M. Loys Delteil’s catalogue, but the whole of
-Meryon’s verses, including some that he did not etch, are collected and
-presented in a more legible form, being printed with type, in Aglaüs
-Bouvenne’s “Notes et Souvenirs sur Charles Meryon.” They are jerky,
-queer and amateurish verses, but they throw so much light on Meryon’s
-mentality that they must not be neglected by any student of his art.
-
-It is time that we returned to the Paris etchings themselves, of which
-only one, _Le Petit Pont_ (plate 7), has hitherto been mentioned in our
-survey of the progress of Meryon’s work. The complete series as he
-published them himself, in three parts, between 1852 and 1854, consists
-of twenty-two etchings,[2] preceded by a portrait of Meryon etched by
-Bracquemond; not the half-length portrait, seated, with the hand resting
-on the back of a chair (plate 1),[3] which was etched in 1853 (Beraldi
-77), but the head in profile to the left (Beraldi 78), in imitation of
-an antique sculpture in relief, with the legend, composed and etched by
-Meryon himself, in 1854:
-
-    Messire Bracquemond
-    A peint en cette image
-    Le sombre Meryon
-    Au grotesque visage.
-
-Of the “cahiers” which were issued of the Paris set, containing this
-portrait, probably not one remains to-day intact. The twenty-two
-etchings by Meryon himself consisted of an etched title (plate 2)
-printed on grey, brown, blue or green paper (in which, it should be
-noticed, as well as in the address etched at the foot of each plate, the
-etcher calls himself Meryon, not Méryon), four small preliminary
-etchings, twelve important subjects, which bear numbers in the final
-state, which was not printed till 1861 and then in an edition of thirty
-only, and five more plates which were never numbered, and which, as
-regards size at least, must be counted as “minor” works, though they
-include _La Rue des Mauvais Garçons_ (plate 10), a plate to which
-posterity attaches a high value, if Meryon did not do so himself. Some
-of the minor etchings are so extremely rare that they must have been
-printed in small numbers and not generally included in the “cahier.”
-Several rather important etchings of Paris were done at a later date,
-and did not form part of the “Eaux-Fortes sur Paris” set.
-
-The dedication to Zeeman, “peintre des matelots” (plate 3), is in verses
-which express in simple language Meryon’s love and admiration for the
-master who had inspired his early efforts, concluding with the words:--
-
-    Mon maître et matelot,
-    Renier toi que j’aime
-    Comme un autre moi-même
-    A revoir, à bientôt.
-
-The frontispiece (plate 4), a round composition in which a devil
-carrying a great scroll hovers against a lurid sky over the Gothic
-gateway of the Palais de Justice, is a sinister design. The Tomb of
-Molière (plate 23), tail-piece to the set, was etched on the same plate,
-and a proof exists from the undivided copper containing both designs.
-The verses following the frontispiece are a comment on the latter, and
-express Meryon’s conviction that the city of Paris, “Paris le Paradis
-des amours et des Ris,” is possessed by a “noir Diabloton, malicieux,
-mutin,” fostered by science, and that this “méchant animal, Origine du
-mal” cannot be exorcised without razing the city to the ground. These
-etched verses are very rare. The symbolical coat of arms of the city of
-Paris (plate 5) is another of the minor pieces inserted in 1854, when
-the set was being completed. Then follows _Le Stryge_ (plate 6), etched
-in 1853, one of the most original and impressive of all Meryon’s
-etchings. His elbows propped on the ledge of the balcony, one of the
-Gothic monsters of the western towers of Notre-Dame broods with head in
-hands and lolling tongue, an enigmatical and evil expression in his eye,
-over the city of Paris seen far below, with the Tour St. Jacques as the
-most prominent object. Jackdaws circle in the air about the towers, and
-graven beneath the oval, in one state only of the plate, is the sinister
-couplet:--
-
-    Insatiable vampire, l’éternelle luxure
-    Sur la grande cité convoite sa pâture.
-
-The delicacy of the work, in fine proofs, is beyond the power of any
-mechanical process to reproduce. Two pencil studies, formerly in the
-Macgeorge collection, are very interesting as showing Meryon’s
-conscientious method of preparation for this plate. He made one very
-highly finished drawing of all that is seen of the city of Paris down
-below, reserving blank spaces for the Stryge and for the Tour St.
-Jacques--there is also a trial state of the plate, showing that all this
-portion of the design was etched first, directly from this drawing--and
-then another equally finished drawing of the tower and the stone monster
-by themselves, with all the rest of the subject drawn in outline,
-probably traced from the first drawing. A drawing by Meryon of another
-of the monsters of Notre Dame, a monkey, with a set of verses written
-beside it, is reproduced in Bouvenne’s “Notes et Souvenirs.” Then
-follows _Le Petit Pont_ (plate 7), in which the twin towers of
-Notre-Dame, beautifully placed on the plate, surmount the long rows of
-houses on the Quai du Marché Neuf and dominate the whole composition.
-The outline drawing which Meryon made from the level of the shore,
-showing the towers very much lower, is reproduced in M. Delteil’s
-catalogue. _L’Arche du Pont Notre-Dame_ (plate 8), especially in the
-beautiful proofs on green paper, is one of the most charming of the
-whole series and free from any eccentricity. _La Galerie Notre-Dame_
-(plate 9) is a very beautiful rendering of Gothic architecture, and a
-most delicate study of effects of light, direct and reflected. The
-impressions vary much, some being rich in tone and rather veiled, others
-clean wiped and of a silvery clearness. The highly finished drawing
-which Meryon etched almost in facsimile, only adding clouds in the sky,
-was in the Macgeorge collection.
-
-_La Rue des Mauvais Garçons_ (plate 10), which formed the _cul-de-lampe_
-or tail-piece of the first _livraison_ of “Eaux-Fortes sur Paris,” has
-always impressed modern observers as one of the most powerful and
-impressive of the etchings, fraught with mystery, enigmatic, suggestive
-of long past tragedies. “Quel mortel habitait,” are the verses etched on
-the building, “En ce gîte si sombre? Qui donc là se cachait Dans la nuit
-et dans l’ombre?” Was it Virtue, in silent poverty; was it Crime? No
-answer to the riddle is attempted. The street exists no longer.
-
-_La Tour de l’Horloge_ (plate 11) was drawn and etched in 1852 while
-alterations were in progress which materially altered the appearance of
-Le Châtelet. This plate has always struck me as being a very
-straightforward and masterly portrait of a building, but without so much
-personal expression as Meryon generally contrived to impart to his other
-etchings. An edition of 600 copies of Delteil’s sixth state was
-published in _L’Artiste_ in 1858, and it was only after this large
-edition had been struck off that Meryon made a rather important change
-in the plate, which appears in the last two states, by making rays of
-light issue, somewhat unaccountably, from the windows between the high
-square tower and the first of the round ones. _Tourelle de la rue de la
-Tixéranderie_ (plate 12), also etched in 1852, was drawn just before its
-demolition. The etching gives a very beautiful effect of sunlight on a
-most picturesque old house, with the lower part of its turret wreathed
-in the foliage of a creeper; but the mediæval knight in helm and plumes,
-who rides along the street, and the nude woman standing in the doorway
-(in the first state) are curious additions to the scene. The latter
-figure was retouched in the final state. _Saint-Etienne-du-Mont_ (plate
-13), also etched in 1852, is similar in style, as in dimensions, to the
-last subject. It gives, again, a beautiful effect of sunlight, and the
-architectural details of the church are shown with an exquisite
-clearness. The little figures are lively and interesting, but in the
-state here reproduced a blemish may be noticed; the raised arms of a
-workman on the scaffolding, near the gas lamp on the right, have been
-effaced, to be restored in the next state.
-
-_La Pompe Notre-Dame_ (plate 14), another plate belonging to the
-prolific year 1852, is one of the most picturesque etchings of the
-series. The proportions of the various masses of architecture to the
-oblong plate are perfectly satisfying, and the eye delights in the
-intricate lines, alternately light and dark, of the two wooden
-structures that rise out of the water like the piles of a “lake
-dwelling.” Meryon excuses himself, in an interesting letter, for making
-the towers of Notre-Dame higher than they should be, as actually seen
-from this point of view: “Les Tours saillent aussi un peu plus que dans
-la réalité; mais je considère que ce sont licenses permises, puisque
-c’est pour ainsi dire dans ce sens que travaille l’esprit, sitôt que
-l’objet qui l’a frappé a disparu de devant les yeux” (quoted by M. Loys
-Delteil from a letter to Paul Mantz). This plate was published in an
-edition of 600 by _L’Artiste_ in 1858; before that time the building
-itself had been demolished. Meryon alludes to the impending demolition
-in the rather insignificant little design, with some doggerel verses
-etched within it, known as _La Petite Pompe_ (plate 15), of 1854.
-
-_Le Pont-Neuf_ (plate 16), an etching of 1853, is the ninth of the set
-as Meryon numbered it. It is a solid, masterly piece of architectural
-etching about which there is not much to be said. The light falling on
-the truncated turrets of the bridge and reflected on the surface of the
-river is very subtly observed. In the sixth state, and in that only,
-eight verses are etched, beginning
-
-    Ci-gît du vieux Pont Neuf
-    Tout radoubé de neuf
-    L’exacte ressemblance
-    Par récente ordonnance.
-
-This is poor stuff, and Meryon was well advised to suppress it in later
-states.
-
-_Le Pont-au-Change_ (plates 17, 18), etched in 1854, shows again Le
-Châtelet and the Tour de l’Horloge, and, beyond the bridge, the tower,
-with which we are now familiar, of La Pompe Notre-Dame. This etching is
-remarkable for the many changes introduced into the sky in successive
-states. From the second to the sixth state of Delteil there is a balloon
-floating in the sky towards the left, inscribed SPERANZA (plate 17), to
-which the verses _L’Espérance_ (plate 19) allude. In the seventh state
-this balloon disappears; in its stead there are great flights of birds
-across the sky, of which the lower resemble wild duck, while the upper
-ones, with longer wings, have got hooked beaks which make them look more
-like birds of prey than the jackdaws which one would expect to fly round
-the towers of a city. These remain (plate 18) during several alterations
-in the plate, until the tenth state, when they have disappeared from the
-left, though a concentrated flock wheels about the Tour de l’Horloge,
-and their place is taken by new balloons, near and distant, and in the
-eleventh state by still more balloons, one of which bears the name of
-Vasco de Gama. This is all rather crazy, and the alterations were made,
-like those on other plates to which we shall refer later, after Meryon’s
-mind had finally become deranged. This is evidently the etching referred
-to in a letter from Baudelaire to Poulet Malassis (quoted by M. Loys
-Delteil): “Dans une de ses grandes planches, il a substituté à un petit
-ballon une nuée d’oiseaux de proie, et, comme je lui faisais remarquer
-qu’il était invraisemblable de mettre tant d’aigles dans un ciel
-parisien, il m’a répondu que cela n’était pas dénué de fondement,
-puisque ces gens-là (le gouvernement de l’Empereur) avaient souvent
-lâché des aigles pour étudier les présages, suivant le rite,--et que
-cela avait été imprimé dans les journaux, même dans le _Moniteur_. Je
-dois dire qu’il ne se cache en aucune façon de son respect pour toutes
-les superstitions, mais il les explique mal, et il voit de la cabale
-partout.” This letter dates from January 1860, a few months after Meryon
-had been released from his first confinement in an asylum, and it must
-be observed that any eccentricities due to mental derangement can only
-be traced in plates etched subsequently to 1859, or in the _late
-states_, produced by re-touching after that date, of the “Eaux-fortes
-sur Paris” themselves, which, as first completed in 1854, the year of
-this publication, had been perfectly normal.
-
-Another of the etched poems, “_L’Espérance_,” accompanies _Le
-Pont-au-Change_. After this, two more of the “Eaux-Fortes” remain to be
-noticed, and they are by general agreement the finest of the whole set:
-_La Morgue_ and _L’Abside de Notre-Dame de Paris_, both etched in 1854.
-_La Morgue_ (plate 20) combines a masterly distribution of black and
-white spaces and a perfectly successful treatment of the windows, roofs
-and chimneys, which rise in a curious succession of different levels
-from the riverside, with a motive of poignant human interest in the
-dramatic group that bears, on the left, the body of a drowned man from
-the Seine towards the “Doric little Morgue,” as Browning calls it, on
-the right. The associations of the building, irresistibly suggested by
-this incident, are explained in the pathetic little poem, “_L’Hôtellerie
-de la Mort_” (plate 21), Meryon’s finest effort in verse, etched on two
-separate plates and intended to accompany _La Morgue_, but so rare that
-it very seldom does so. “The bed and the table that the City of Paris
-offers gratis at any time to its poor children,” we can imagine what
-they are--a marble slab, with water dripping down it, under that roof so
-magnificently etched.
-
-    “Puissiez-vous ne point voir
-     Là sur le marbre noir
-     De quelqu’âme chérie
-     La navrante effigie!”
-
-The poem was evidently completed originally in the first column, ending
-with Meryon’s name, address and date, to which he added as an
-afterthought a second column of verses full of consoling thoughts and
-ending with words of faith and hope about the expansion of a flower “à
-la fraiche corolle, à la sainte auréole,” a flower of love and
-happiness, from the germ that is in man’s heart. In the impression at
-the British Museum, words of bad omen, like “Mort,” “Misère,” “Plaisir,”
-are printed in red, and the good words, “Dieu,” “Cieux,” “Amour,” and
-“Bonheur,” are printed in blue. Then follows _L’Abside_ (plate 22), the
-justly famous masterpiece for which higher sums are paid to-day than for
-any other etching except some of Rembrandt’s. The design of the whole
-plate, the lighting of the sky and of the side of the majestic
-cathedral, the proportion of the towers and high-pitched roof of
-Notre-Dame to the massive but comparatively insignificant buildings
-along the line of the Seine combine to produce a total effect of
-unrivalled dignity and charm. How eloquent, too, is the contrast of all
-that splendid architecture across the river with the squalid foreground,
-where heaps of sand are being shovelled into carts, and barges of the
-humblest kind are moored along the shore. _L’Abside_, again, has a
-little etched poem “O toi dégustateur de tout morceau gothique,” to
-accompany it, but this is one of the very rarest of Meryon’s etchings
-and is not in the British Museum, though the verses are written in
-pencil by Meryon’s hand on the margin of one of the states of _L’Abside_
-in that collection. Then, with the _Tombeau de Molière_ (plate 23) the
-series closes. Not only in the intensity of this realisation of his
-subject and in the perfect skill of the actual etching was Meryon a
-great innovator, but also in the importance that he attached to the
-utmost care in printing. In collaboration with Auguste Delâtre, the best
-printer of etchings of his day, Meryon produced exquisite proofs of the
-early states of the “Eaux-fortes sur Paris” printed in carefully
-composed brown and black inks on the choicest papers, green, brown,
-yellowish, white, of old Dutch manufacture or imported from Japan. This
-was a complete innovation in 1850, and he set an example which the most
-scrupulous etchers and printers have endeavoured to follow to this day
-but have never surpassed. Like most French etchers, Meryon preferred
-proofs from clean wiped plates to those printed with any considerable
-amount of tone. A letter from Meryon himself on this subject, written in
-1863, is quoted by Burty.
-
-During the production of all these masterpieces Meryon was living,
-almost a recluse, in his rooms in the Rue St. Etienne-du-Mont. He had
-great difficulty in selling proofs of his etchings, though he asked no
-more than 30 francs for a Paris set. He took them in vain to various
-publishers; there were then no dealers who sold etchings of this kind.
-He had spent the money left to him by his mother; he gained no rewards
-at the Salon; the Chalcographie Impériale du Louvre ignored him. He was
-almost starving, says Burty, when he made the acquaintance of M. Jules
-Niel, librarian at the Ministry of the Interior, a cultivated man who
-recognised at once the significance of Meryon’s work. He obtained the
-purchase of several sets of the etchings by the Minister and orders for
-other work to be done by Meryon in the shape of reproductions of
-historical drawings. In the winter of 1855-56 the Duke of Aremberg had
-seen the Views of Paris at Montpellier. In 1857 he sent for Meryon to
-Belgium, and commissioned him to etch views of his park at Enghien. But
-Meryon was just then becoming a prey to mental disease, and he returned
-to Paris, in great trouble of mind, in March 1858. He became more and
-more unsociable, especially after he removed to a little hotel in the
-Rue Fossé St. Jacques. Delâtre looked after him as best he could, but
-Meryon refused to leave his bed, saying that he could not cross a sea of
-blood, and threatened with a pistol those who approached him. Whilst he
-was in this state Léopold Flameng drew, in May 1858, the well-known
-portrait of Meryon in bed, sitting up, with a large black cravat round
-his neck, the dark shadow of his head thrown upon the wall by the rays
-of a lamp (plate 24). The features are sharp and emaciated with
-self-imposed fasting. When the drawing was finished, Meryon asked to see
-it. He sprang out of bed and tried to tear it up, but Flameng fled with
-the portrait. On the following day, May 12th, Meryon was carried off to
-the asylum at Charenton St. Maurice. The discipline and regular food,
-instead of semi-starvation, had a good effect on him, and he was quiet,
-gentle and polite. While he was in the asylum he made one etching, from
-a drawing of the ruins of Pierrefonds brought to him by the architect,
-Viollet le Duc. It was during this time that Delâtre had impressions of
-some of his plates published by _L’Artiste_. On the 25th August, 1859,
-Meryon was released on leave for three weeks, and did not actually go
-back to the asylum until 1866.
-
-
-
-
-OTHER ETCHINGS OF THE ’FIFTIES
-
-
-The Paris set had almost entirely absorbed his energies during the years
-of its production, but he made one or two other good etchings during the
-same period. Two of the Bourges etchings belong to this time, the third
-being much later. The only etching of 1851 was _Porte d’un ancien
-Couvent, Bourges_ (plate 39), a lightly etched plate, parts of which
-were only drawn in outline. Meryon printed very few copies of it, and
-intended to complete it later, but it is a very beautiful piece of work
-in its present condition. Meryon projected the publication of a Bourges
-set, but it always remained in abeyance. Two draughts exist in his
-handwriting, dated 1852, for the lettering of a title page to such a
-set, and M. Delteil prints a letter addressed by him in 1854 to the
-Ministry of the Interior, in which he sends a proof of the first plate
-etched of the proposed Bourges set (meaning, no doubt, _Rue des Toiles,
-Bourges_) and begs for a subscription for fifty copies of a set of ten
-etchings at fifteen francs a set. The set was to consist of four
-etchings of the same dimensions as the specimen submitted and six
-etchings of details of buildings. The etchings were to represent private
-houses, which were in more danger of demolition than public monuments.
-He sent _Porte d’un ancien Couvent_ (plate 39) as a specimen of the less
-important etchings that he projected. In the same letter he recalls that
-the Ministry had subscribed for fifty copies of the Paris set, which had
-been originally intended to consist of ten etchings (he counts only the
-important subjects which ultimately received numbers); he had now
-decided to add two more (_La Morgue_ and _L’Abside_) and begged the
-Minister to subscribe for fifty copies of these additional plates at
-two francs each, adding that such help as he would get from the Ministry
-was almost his only assistance in view of the indifference of the
-public. _Rue des Toiles à Bourges_ (plate 40) is a very fine etching,
-comparable to some of the rather similar subjects in the Paris set,
-notably _Tourelle, Rue de la Tixéranderie_. The early impressions of it
-are very beautifully printed. The British Museum has recently acquired a
-probably unique first state, earlier than any described by M. Delteil,
-printed before the plate had been reduced to its ultimate dimensions.
-The third Bourges etching, _Ancienne habitation à Bourges_ (plate 41)
-was added much later, in 1860, and is in the style of some of the late
-Paris etchings, but not so good. The only other etchings that date from
-the period of the “Eaux-Fortes sur Paris” are the _Verses to Eugène
-Bléry_ (two different plates with the same contents, D. 88, 89) and the
-fine _Entrée du Couvent des Capucins à Athènes_ (plate 42), both etched
-in 1854. Though Meryon had drawn in early youth the Choragic Monument of
-Lysicrates which was then partly embedded in the buildings of the French
-Capuchins at Athens, though it was afterwards detached from the wall,
-his etching is copied from one of the plates by J. P. Le Bas in J. D. Le
-Roy’s “Ruines des plus beaux monuments de la Grèce,” Paris, 1758.
-
-It was about this time that Meryon began to etch plates of antiquarian
-interest from old drawings or prints. Though they were commissioned for
-illustrations, it is evident, among other things from a letter of
-Baudelaire’s written in 1860, that Meryon himself developed a rather
-tiresome habit of research, both pedantic and eccentric in its methods.
-One of the best of these derivative etchings, the _Salle des Pas-Perdus_
-(plate 35), after Ducerceau, dates from 1855, and _Le Pont-Neuf et la
-Samaritaine_ (plate 33) and _Le Pont-au-Change vers 1784_ (plate 34)
-were also etched in the same year. They are fine etchings, but do not
-arouse the same interest as Meryon’s first-hand impressions of the Paris
-of his own day. _Le Château de Chenonceau_, also after Ducerceau, and
-etched in a very dry manner, is a plate of 1856, and in the same year
-he etched, from photographs, the large panoramic view of _San
-Francisco_. More typical Meryons are the two queer etchings of 1855 and
-1856 called _La Loi Solaire_ and _La Loi Lunaire_, in which he
-propounded very crazy views on morality, one of them being that an
-upright posture is the proper attitude for sleep, a theory which he
-himself carried into practice in later years, by passing the night
-between two upright boards with his arms supported by loops of rope to
-keep him from falling. _Le Pilote de Tonga_, a prose poem in a frame,
-etched in 1856, is the first of what grew, in the sixties, into a long
-series of etchings founded on his sketches and reminiscences of his
-early voyage to the South Seas. These filled an even larger place in his
-thoughts in his last years, but it is to be feared that the etchings of
-these subjects, of which a few specimens are here reproduced (plates
-43-46), leave posterity rather cold.
-
-
-
-
-THE LATE ETCHINGS
-
-
-The only etchings of any importance that Meryon produced after his
-release from confinement are some of the last views of Paris, done at
-the time when he was retouching his old plates of Paris and making the,
-not very judicious, alterations which distinguish their latest states.
-The new ones are: _Rue Pirouette_ (1860, plate 36), _Tourelle de la rue
-de l’Ecole-de-Médecine_ (1861), which shows the house in which Marat was
-assassinated (plates 25, 26), _Rue des Chantres_ (1862, plates 27, 28),
-_Collège Henri IV_ (1864, plate 29), _Bain-froid Chevrier_ (1864, plate
-30), _Le Ministère de la Marine_ (1866, plates 31, 32) and _L’ancien
-Louvre, vers 1650_ (1866, plate 38), in which, fulfilling a commission
-from the Chalcographie du Louvre, he returned to the study of his old
-love, Renier Zeeman. The _Rue des Chantres_ is incomparably the finest
-of these, but it can only be seen to real advantage in the very rare
-early states, one of which the British Museum possesses (plate 27), in
-which the spire, a recent addition to Notre-Dame designed by
-Viollet-le-Duc, soars into an empty sky, which was afterwards
-disfigured by the incongruous insertion of two bells and a device with
-the initials J. B. (plate 28). The streets of all the etchings of the
-sixties are filled with excited crowds or little groups of tall,
-unnatural looking people, and all kinds of curious monsters and
-allegorical figures hover in the sky or swoop in rapid flight across it.
-The _Collège Henri IV_ (plate 29) in some of its states, has for
-background a sea with sails and whales and sea-gods, and the figures in
-the foreground are the most extraordinary that Meryon ever drew.
-
-It is of no use to dwell at length on these symptoms of mental decline.
-The lonely artist, subject to hallucinations, thinking that Jesuits were
-watching him in every street, quarrelling with his best friends, who
-found it impossible to help him, almost starving because he thought it
-wrong to eat when others were in need, was no longer capable of the
-concentrated effort that had produced the masterpieces of the first half
-of the fifties. On October 12th, 1866, he was shut up again at
-Charenton, where he died on February 4th, 1868, and where a friend of
-his sailor days, De Salicis, pronounced an oration over his grave.
-Bracquemond etched, with a few symbolical ornaments, a copper plate to
-be laid on the slab of black Breton stone, resting on cubes on white
-stone, which covered his tomb.
-
-His life had been a failure; he was himself only too ready to proclaim
-it. He regarded art as something so mysterious, so sacred, as to be
-quite out of reach. “L’art pour lui n’existait qu’ à l’état de fétiche,
-d’idéal,” wrote Dr. Gachet to Bouvenne, “on ne devait pas y toucher--il
-n’y avait pas d’artistes.” To praise him as an artist was to make of him
-an enemy. To such a temperament fame was denied while he lived. It
-remained for posterity to do homage that could meet with no rebuff. The
-sincerest flattery, that of imitation, has been offered to Meryon
-without stint by a generation of etchers that was being born while he
-was relaxing by degrees his imperfect grasp of life.
-
-
-
-
-LIST OF MERYON’S ETCHINGS
-
-
-Besides the earliest full catalogue of Meryon’s etchings, that by P.
-Burty, translated into English by M. B. Huish (1879), which derives its
-value from Burty’s Memoir of Meryon and his notes on certain of the
-etchings, there are two catalogues of Meryon in general use, that
-written by the late Sir F. Wedmore (“Méryon and Méryon’s Paris,” 2nd
-ed., London, 1892) and the much more thorough catalogue by M. Loys
-Delteil (1907) which forms Tome II. of the series, “Le Peintre-Graveur
-illustré.” The British Museum collection is still arranged in Wedmore’s
-order, which has one practical advantage: it gives precedence to the
-important works, the etchings of Paris, and describes the other etchings
-as minor works after these. Thus the visitor, not an expert, who asks
-for Meryon’s etchings and receives the first volume, finds in it at once
-a number of the masterpieces. He can persevere, if he will, and see the
-minor works also; but, if he is more easily tired, he will at least have
-seen the Paris set while his eye is fresh, and will have spent none of
-his energy on the early experiments. On the other hand, Delteil is not
-pedantically chronological; he also places the Paris etchings early, by
-themselves, and groups the remainder, unlike Wedmore, by a subject
-arrangement, in various classes. By his more scientific description of
-states Delteil has superseded Wedmore, and is now invariably quoted in
-sale catalogues. How far even his catalogue is from being exhaustive is
-proved by the numerous additional states, chiefly based on the
-examination of the British Museum and Macgeorge collections, which Mr.
-H. J. L. Wright has described in the July number (1921) of the _Print
-Collector’s Quarterly_. It is understood that a new edition of Delteil
-is projected, containing a definitive numeration of the states, in which
-these and other corrections will be incorporated. The present list
-attempts no description of states. The titles are given in M. Delteil’s
-order, Wedmore’s numbers following in brackets, with the date of each
-etching and a summary indication of the number of states at present
-known to exist, quoted from Delteil except where the reference “_see_
-Wright” is given.
-
-
-I. EARLY EXPERIMENTS.
-
-1 (78)--La Sainte Face, after P. de Champaigne. 1849.
-2 (63)--La vache et l’ ânon, after P. J. de Loutherbourg. (2 states).[4]
-3 (67)--Soldat de profil, after Salvator Rosa. 1849 (2 states).
-4 (67a)--Soldat de face, after Salvator Rosa. 1849.
-5 (64)--Le mouton et les mouches, after K. du Jardin. 1849 (2 states).
-6 (65)--Les trois cochons couchés devant l’étable, after K. du
-         Jardin. 1850 (2 states).
-7 (66)--Les deux chevaux, after K. du Jardin. 1850.
-8 (62)--La brebis et les deux agneaux, after A. van de Velde.
-         1850? (2 states).
-9 (68)--Le Pavillon de Mademoiselle et une partie du Louvre,
-         after R. Zeeman. 1849 (3 states).
-10 (69)--Entrée du Faubourg Saint-Marceau, à Paris, after R.
-         Zeeman. 1850 (2 states).
-11 (70)--Un moulin à eau près de Saint Denis, after R. Zeeman.
-         1850 (2 states).
-12 (71)--La rivière de Seine et l’angle du Mail, à Paris, after R.
-         Zeeman. 1850 (2 states).
-13 (72)--Galiot de Jean de Vyl de Rotterdam, after R. Zeeman. 1850 (3 states).
-14 (73)--Bateaux de Harlem à Amsterdam, after R. Zeeman. 1850 (4 states).
-15 (75)--Pêcheurs de la Mer du Sud, after R. Zeeman. 1850 (2 states).
-16 (74)--Passagers de Calais à Flessingue, after R. Zeeman. 1850 (2 states).
-
-
-II. VIEWS OF PARIS.
-
-17 (1)--Titre des “Eaux-fortes sur Paris.” 1852.
-18 (2)--Dédicace à Reynier Nooms, dit Zeeman. 1854.
-19 (3)--Ancienne porte du Palais de Justice. 1854 (3 states).
-20 (4)--Qu’âme pure gémisse. 1854 (2 states).
-21 (5)--Armes symboliques delà Ville de Paris. 1854 (3 states)
-22 (6)--Fluctuat nec mergitur. 1854.
-23 (7)--Le Stryge. 1853 (8 states).
-24 (8)--Le Petit Pont. 1850 (7 states--_see_ Wright).
-25 (9)--L’ Arche du Pont Notre-Dame. 1853 (7 states--_see_ Wright).
-26 (10)--La Galerie Notre-Dame. 1853 (5 states).
-27 (11)--La rue des Mauvais Garçons. 1854 (3 states).
-28 (12)--La Tour de l’ Horloge. 1852 (10 states--_see_ Wright).
-29 (13)--Tourelle de la rue de la Tixéranderie. 1852 (4 states--_see_ Wright).
-30 (14)--Saint-Etienne-du-Mont. 1852 (8 states).
-31 (15)--La Pompe Notre-Dame. 1852 (9 states).
-32 (16)--La Petite Pompe. 1854. (2 states).
-33 (17)--Le Pont-Neuf. 1853 (10 states--_see_ Wright).
-34 (18)--Le Pont-au-Change. 1854 (12 states--_see_ Wright).
-35 (19)--L’ Espérance. 1854 (3 states--_see_ Wright).
-36 (20)--La Morgue. 1854 (7 states).
-37 (21)--L’ Hôtellerie de la Mort. 1854.
-38 (22)--L’Abside de Notre-Dame de Paris. 1854 (8 states).
-39 (--)--O toi dégustateur. 1854 (2 states).
-40 (23)--Tombeau de Molière. 1854 (2 states).
-41 (24)--Tourelle de la rue de l’ Ecole-de-Médecine. 1861 (13
-         states--_see_ Wright).
-42 (25)--Rue des Chantres. 1862 (5 states--_see_ Wright).
-43 (58)--Collège Henri IV. 1864 (11 states--_see_ Wright).
-44 (27)--Bain-froid Chevrier. 1864 (6 states).
-45 (26)--Le Ministère de la Marine. 1865 (6 states).
-46 (29)--Le Pont-Neuf et la Samaritaine de dessous la 1ʳᵉ arche
-         du Pont-au-Change. 1855 (4 states).
-47 (28)--Le Pont-au-Change vers 1784, after Nicolle. 1855
-         (6 states--_see_ Wright).
-48 (76)--La Salle des Pas-perdus 1855 (4 states).
-49 (30)--Rue Pirouette aux Halles. 1860 (6 states).
-50 (84)--Passerelle du Pont-au-Change après l’ incendie de
-         1621. 1860 (8 states--_see_ Wright).
-51 (31)--Partie de la Cité vers la fin du XVIIᵉ siècle. 1861 (8 states).
-52 (85)--Le Grand Châtelet vers 1780. 1861 (3 states).
-53 (60)--L’Ancien Louvre, after R. Zeeman. 1866 (6 states).
-
-
-III. VARIOUS VIEWS.
-
-54 (33)--Porte d’un ancient Couvent, rue Mirebeau, à
-         Bourges. 1851 (3 states--_see_ Wright).
-55 (35)--Rue des Toiles à Bourges. 1853 (8 states--_see_ Wright).
-56 (34)--Ancienne habitation à Bourges. 1860 (5 states).
-57 (77a)--Château de Chenonceau (1st plate). 1856.
-58 (77)--Château de Chenonceau (2nd plate). 1856 (3 states).
-59 (81)--Ruines du Château de Pierrefonds. 1858 (3 states--_see_ Wright).
-60 (83)--Chevet de St.-Martin-sur-Renelle, after P. Langlois. 1860 (3 states).
-61 (32)--Entrée du Couvent des Capucins, à Athènes. 1854 (3 states).
-62 (79)--Plan du Combat de Sinope. 1853 (2 states).
-63 (46)--Couverture du voyage à la Nouvelle-Zélande.
-         1866 (8 states--_see_ Wright).
-64 (36)--Le Pilote de Tonga. 1856 (2 states).
-65 (38)--Tête de Chien de la Nouvelle-Hollande. 1850 (2 states)
-66 (37)--Le Malingre Cryptogame. 1860 (4 states).
-67 (40)--Nouvelle-Calédonie. Grande case indigène. 1863 (5 states).
-68 (41)--Océanie, pêche aux palmes. 1863 (4 states).
-69 (42)--Presqu’ île de Banks. Pointe des Charbonniers,
-         Akaroa. 1863 (7 states--_see_ Wright).
-70 (39)--Greniers indigènes à Akaroa. 1865 (5 states--_see_ Wright).
-71 (43)--Etat de la colonie française d’Akaroa. 1865 (5 states)
-72 (44)--La Chaumière du Colon. 1866 (3 states).
-73 (80)--San Francisco. 1856 (4 states).
-74 (45)--Prô-volant des Iles Mulgrave. 1866 (6 states--_see_ Wright).
-
-
-IV. PORTRAITS.
-
-74a (--)--Meryon assis devant son chevalet. 1849? (no proof exists).
-75 (--)--Eugène Bléry. 1849? (no proof known to exist).
-76 (--)--Edmond de Courtives. 1849?
-77 (86)--Casimir Le Conte. 1856(2 states).
-78 (87)--Evariste Boulay-Paty, after David d’Angers. 1861 (3 states).
-79 (88)--François Viète. 1861 (11 states--_see_ Wright).
-80 (92)--René de Burdigale, after C. de Passe. 1861 (5 states--_see_ Wright).
-81 (89)--Pierre Nivelle, after M. Lasne. 1861 (6 states).
-82 (91)--Jean Besly, after Jaspar Isac. 1861 (4 states).
-83 (93)--L. J.-Marie Bizeul. 1861 (5 states).
-84 (90)--Th. Agrippa d’ Aubigné, after J. Hébert. 1862 (4 states).
-85 (94)--Benjamin Fillon. 1862 (5 states).
-86 (95)--Armand Guéraud. 1862 (3 states--_see_ Wright).
-
-
-V. FRONTISPIECES, ADDRESSES, REBUSES, MISCELLANEOUS SUBJECTS.
-
-87 (47)--Adresse de Rochoux. 1856? (5 states--_see_ Wright).
-88 (48a)--Vers à Eugène Bléry (small plate). 1854.
-89 (48)--Vers à Eugène Bléry (large plate). 1854 (2 states--_see_ Wright).
-90 (--)--L’Attelage.
-91 (49)--La loi lunaire, 1st plate. 1856 (3 states--_see_ Wright).
-92 (50)--La loi lunaire, 2nd plate. 1866 (6 states--_see_ Wright).
-93 (51)--La loi solaire. 1855.
-94 (82)--Présentation du Valère Maxime au roi Louis XI.
-         1860 (6 states--_see_ Wright).
-95 (54)--Projet d’encadrement pour le portrait d’Armand
-         Guéraud. 1862 (10 states--_see_ Wright; there is
-         another, following Delteil’s 6th, still undescribed)
-96 (61)--Frontispice pour le catalogue de Th. de Leu. 1866.
-97, 98 (52, 53)--Projets de billets d’action (2 states--_see_ Wright).
-99 (59)--Petit Prince Dito. 1864 (3 states--_see_ Wright).
-100 (55)--Rébus: La Vendetta. 1863 (2 states).
-101 (57)--Rébus: Béranger. 1863 (4 states--_see_ Wright).
-102 (56)--Rébus: Morny. 1866 (3 states).
-
-[Illustration: (_From a proof in the possession of Campbell Dodgson,
-Esq., M.A., C.B.E._).
-
-PLATE 1. CHARLES MERYON. BY FÉLIX BRACQUEMOND. 9 × 5-7/8 in.]
-
-[Illustration: PLATE 2. TITRE DES EAUX-FORTES SUR PARIS. (D.17.) 6-1/2 ×
-4-15/16 in.]
-
-[Illustration: PLATE 3. DÉDICACE À REYNIER NOOMS, DIT ZEEMAN. (D.18.)
-6-15/16 × 2-3/4 in.]
-
-[Illustration: PLATE 4. ANCIENNE PORTE DU PALAIS DE JUSTICE. (D.19).
-THIRD STATE. 3-7/16 × 3-3/8 in.]
-
-[Illustration: PLATE 5. ARMES SYMBOLIQUES DE LA VILLE DE PARIS. (D.21.)
-THIRD STATE. 5-3/8 × 4-3/8 in.]
-
-[Illustration: PLATE 6. LE STRYGE. (D.23.) EIGHTH STATE. 6-3/4 × 5-1/8
-in.]
-
-[Illustration: LE STRYGE.]
-
-[Illustration: PLATE 7. LE PETIT PONT. (D.24.) FIFTH STATE. 10-1/4 ×
-7-1/2 in.]
-
-[Illustration: PLATE 8. L’ARCHE DU PONT NOTRE-DAME. (D.25.) THIRD STATE.
-6 × 7-3/4 in.]
-
-[Illustration: PLATE 9. LA GALERIE NOTRE-DAME. (D.26.) THIRD STATE.
-11-1/8 × 6-15/16 in.]
-
-[Illustration: PLATE 10. LA RUE DES MAUVAIS GARÇONS (D.27.) THIRD STATE.
-5 × 3-7/8 in.]
-
-[Illustration: PLATE 11. LA TOUR DE L’HORLOGE. (D.28.) THIRD STATE.
-10-5/16 × 7-1/4 in.]
-
-[Illustration: PLATE 12. TOURELLE DE LA RUE DE LA TIXÉRANDERIE. (D.29.)
-SECOND STATE. 9-3/4 × 5-3/16 in.]
-
-[Illustration: PLATE 13. SAINT-ÉTIENNE-DU-MONT. (D.30.) FIFTH STATE.
-9-3/4 × 5-1/8 in.]
-
-[Illustration: PLATE 14. LA POMPE NOTRE-DAME. (D.31.) NINTH STATE. 6-3/4
-× 9-7/8 in.]
-
-[Illustration: PLATE 15. LA PETITE POMPE. (D.32.) SECOND STATE. 4-1/4 x
-3-1/4 in.]
-
-[Illustration: PLATE 16. LE PONT-NEUF. (D.33.) EIGHTH STATE. 7-3/16 ×
-7-1/4 in.]
-
-[Illustration: LE PONT-NEUF.]
-
-[Illustration: PLATE 17. LE PONT-AU-CHANGE. (D.84.) SECOND STATE. 6-1/8
-× 13-1/16 in.]
-
-[Illustration: PLATE 18. LE PONT-AU-CHANGE. (D.34.) NINTH STATE. 6-1/4 ×
-13-1/16 in.]
-
-[Illustration: PLATE 19. L’ESPÉRANCE. (D.35.) (VERS DESTINÉS À
-ACCOMPAGNER LE PONT-AU-CHANGE.) 2-1/2 × 5in.]
-
-[Illustration: PLATE 20. LA MORGUE. (D. 36.) THIRD STATE. 9-1/8 × 8-1/8
-in.]
-
-[Illustration: PLATE 21. L’HÔTELLERIE DE LA MORT. (D.37.) TWO PLATES
-EACH 4-3/4 × 1-3/8 in.]
-
-[Illustration: PLATE 22. L’ABSIDE DE NOTRE-DAME DE PARIS. (D.38.) FOURTH
-STATE. 6-1/2 × 11-3/4 in.]
-
-[Illustration: PLATE 23. TOMBEAU DE MOLIÈRE. (D.40.) SECOND STATE. 2-5/8
-× 2-3/4 in.]
-
-[Illustration: PLATE 24. CHARLES MERYON, 1858. BY LÉOPOLD FLAMENG. 8-3/4
-× 10-3/4 in.]
-
-[Illustration: PLATE 25. TOURELLE DE LA RUE DE L’ÉCOLE-DE-MÉDECINE.
-(D.41.) SIXTH STATE. 8-3/8 × 5-3/16 in.]
-
-[Illustration: PLATE 26. TOURELLE DE LA RUE DE L’ÉCOLE-DE-MÉDECINE.
-(D.41) NINTH STATE. 8-3/8 × 5-3/16 in.]
-
-[Illustration: PLATE 27. RUE DES CHANTRES. (D.42.) FIRST STATE. 11-3/4 ×
-5-7/8 in.]
-
-[Illustration: PLATE 28. RUE DES CHANTRES. (D.42.) FOURTH STATE. 11-3/4
-× 5-7/8 in.]
-
-[Illustration: PLATE 29. COLLÈGE HENRI IV. (D.48.) SIXTH STATE. 11-5/8 ×
-18-7/8 in.]
-
-[Illustration: PLATE 30. BAIN-FROID CHEVRIER. (D. 44.) FOURTH STATE.
-5-1/8 × 5-5/8 in.]
-
-[Illustration: PLATE 31. LE MINISTÈRE DE LA MARINE. (D. 45.) FIRST
-STATE. 6-5/8 × 5-3/4 in.]
-
-[Illustration: PLATE 32. LE MINISTÈRE DE LA MARINE. (D. 45.) FIFTH
-STATE. 6-5/8 × 5-3/4 in.]
-
-[Illustration: PLATE 33. LE PONT-NEUF ET LA SAMARITAINE (D. 46.) THIRD
-STATE. 5-11/16 × 8 in.]
-
-[Illustration: PLATE 34. LE PONT-AU-CHANGE VERS 1784, D’APRÈS NICOLLE.
-(D. 47.) THIRD STATE. 5-5/16 × 9-3/8 in.]
-
-[Illustration: PLATE 36. LA SALLE DES PAS-PERDUS À L’ANCIEN
-PALAIS-DE-JUSTICE. (D. 48.) FOURTH STATE. 10-5/8 × 17-1/8 in.]
-
-[Illustration: PLATE 36. RUE PIROUETTE AUX HALLES. (D. 49.) THIRD STATE.
-6-1/8 × 4-9/16 in.]
-
-[Illustration: PLATE 37. PARTIE DE LA CITÉ VERS LA FIN DU XVIIe SIÈCLE.
-(D. 51.) SEVENTH STATE. 6 × 12-5/8 in.]
-
-[Illustration: PLATE 38. L’ANCIEN LOUVRE, D’APRÈS UNE PEINTURE DE
-ZEEMAN. (D. 53.) FIFTH STATE. 6-5/8 × 10-1/2 in.]
-
-[Illustration: PLATE 39. PORTE D’UN ANCIEN COUVENT À BOURGES. (D. 54.)
-SECOND STATE. 6-5/8 x 4-3/4 in.]
-
-[Illustration: PLATE 40. RUE DES TOILES À BOURGES. (D. 55.) FIFTH STATE.
-8-1/2 × 4-3/4 in.]
-
-[Illustration: PLATE 41. ANCIENNE HABITATION À BOURGES. (D. 56.)
-FOURTH STATE. 9-5/8 x 5-7/16 in.]
-
-[Illustration: PLATE 42. ENTRÉE DU COUVENT DES CAPUCINS À ATHÈNES. (D.
-61.) THIRD STATE. 7-5/8 × 5 in.]
-
-[Illustration: PLATE 43. NOUVELLE-CALÉDONIE. GRANDE CASE INDIGÈNE SUR LE
-CHEMIN DE BALLADE À POEPO. (D. 67.) FOURTH STATE. 5-5/8 × 9-3/4 in.]
-
-[Illustration: PLATE 44. OCÉANIE, PECHE AUX PALMES. (D. 68.) FOURTH
-STATE. 6-1/4 × 13-1/4 in.]
-
-[Illustration: PLATE 45. LA CHAUMIÈRE DU COLON. (D. 72.) THIRD STATE.
-3-1/8 × 3 in.]
-
-[Illustration: PLATE 46. PRÔ-VOLANT DES ÎLES MULGRAVE. (D. 74.) FIFTH
-STATE. 5-3/4 × 3-1/8 in.]
-
-[Illustration: PLATE 47. L. J.-MARIE BIZEUL. (D.83.) FOURTH STATE 6-1/2
-× 4-5/8 in.]
-
-
-FOOTNOTES:
-
-[1] In each case the dimensions given are those of the original plate,
-and not of the subject or engraved surface.
-
-[2] A list of the contents of the set, “Eaux-Fortes sur Paris,” may be
-found useful; it is as follows:--
-
-A. Meryon’s portrait by Bracquemond.
-
-1. The title.
- 2. Dedication to R. Zeeman.
- 3. Porte du Palais de Justice (frontispiece).
- 4. Verses, “Qu’âme pure gémisse.”
- 5. Arms of the City of Paris.
- 6. Le Stryge (numbered 1).
- 7. Le Petit Pont (numbered 2).
- 8. L’Arche du Pont Notre-Dame (numbered 3).
- 9. La Galerie Notre-Dame (numbered 4).
-10. La Rue des Mauvais Garçons.
-11. La Tour de l’Horloge (numbered 5).
-12. Tourelle de la rue de la Tixéranderie (numbered 6).
-13. St. Etienne-du-Mont (numbered 7).
-14. La Pompe Notre-Dame (numbered 8).
-15. La Petite Pompe.
-16. Le Pont-Neuf (numbered 9).
-17. Le Pont-au-Change (numbered 10).
-18. Verses, “L’Espérance.”
-19. La Morgue (numbered 11).
-20. Verses, “L’Hôtellerie de la Mort.”
-21. L’Abside de Notre-Dame (numbered 12).
-22. Tombeau de Molière.
-
-
-[3] This portrait is extremely rare, as only ten impressions were
-taken; it has been reproduced by heliogravure. The impression
-reproduced in this book is in the collection of the author.
-
-[4] When states are not mentioned it is to be understood that there is
-only one state.
-
-
-
-
-*** END OF THE PROJECT GUTENBERG EBOOK THE ETCHINGS OF CHARLES MERYON ***
-
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-<p style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: The Etchings of Charles Meryon</p>
-
-<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: Campbell Dodgson</div>
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-<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Editor: Charles Geoffre Holme</div>
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-
-<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK THE ETCHINGS OF CHARLES MERYON ***</div>
-<hr class="full" />
-
-
-<div class="figcenter">
-<a href="images/cover.jpg">
-<img src="images/cover.jpg" height="500" alt="[Image of the book's
-cover is unavailable.]" /></a>
-</div>
-
-<p><span class="pagenum"><a name="page_i" id="page_i">{i}</a></span>&nbsp; </p>
-
-<p><span class="pagenum"><a name="page_ii" id="page_ii">{ii}</a></span>&nbsp; </p>
-
-<p><span class="pagenum"><a name="page_iii" id="page_iii">{iii}</a></span>&nbsp; </p>
-
-<p class="c">THE ETCHINGS OF CHARLES MERYON</p>
-
-<h1>
-THE ETCHINGS OF<br />
-CHARLES MERYON</h1>
-
-<p class="c">BY CAMPBELL DODGSON, M.A., C.B.E.<br />
-KEEPER OF THE PRINTS AND DRAWINGS<br />
-AT THE BRITISH MUSEUM<br />
-<br />
-<img src="images/colophon.png"
-width="80"
-alt="[Image unavailable.]" /><br />
-<br />
-EDITED BY GEOFFREY HOLME<br />
-PUBLISHED BY “THE STUDIO,” LTD., LONDON<br />
-MCMXXI<br />
-<span class="pagenum"><a name="page_iv" id="page_iv">{iv}</a></span>
-</p>
-
-<p class="nind1"><small><i>Printed by Herbert Reiach, Ltd.,<br />
-9 King Street, Covent Garden,<br />
-London. Photogravure plates<br />
-engraved and printed by A.<br />
-Alexander &amp; Sons, Ltd., 15<br />
-Westmoreland Place, City Road,<br />
-London.</i><br /></small>
-<span class="pagenum"><a name="page_v" id="page_v">{v}</a></span></p>
-
-<h2 class="c"><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2>
-
-<table border="0" cellpadding="1" cellspacing="0" summary="deprecated">
-
-<tr><th class="c">ARTICLES</th>
-<th class="rt">Page</th></tr>
-
-<tr><td><a href="#INTRODUCTION">Introduction</a></td><td class="rt" valign="bottom">
-<a href="#page_1">1</a></td></tr>
-
-<tr><td><a href="#EARLY_LIFE">Early Life</a></td><td class="rt" valign="bottom">
-<a href="#page_3">3</a></td></tr>
-
-<tr><td><a href="#THE_EARLY_ETCHINGS">The Early Etchings</a></td><td class="rt" valign="bottom">
-<a href="#page_6">6</a></td></tr>
-
-<tr><td><a href="#THE_ETCHINGS_OF_PARIS">The Etchings of Paris</a></td><td class="rt" valign="bottom">
-<a href="#page_8">8</a></td></tr>
-
-<tr><td><a href="#OTHER_ETCHINGS_OF_THE_FIFTIES">Other Etchings of the ’Fifties</a></td><td class="rt" valign="bottom">
-<a href="#page_20">20</a></td></tr>
-
-<tr><td><a href="#THE_LATE_ETCHINGS">The Late Etchings</a></td><td class="rt" valign="bottom">
-<a href="#page_22">22</a></td></tr>
-
-<tr><td><a href="#LIST_OF_MERYONS_ETCHINGS">List of Meryon’s Etchings</a></td><td class="rt" valign="bottom">
-<a href="#page_24">24</a></td></tr>
-
-<tr><th colspan="2" class="c">LIST OF ETCHINGS REPRODUCED.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a></th><th>Plate</th></tr>
-
-<tr><td class="pdd"><a href="#plt_001">Charles Meryon. By Félix Bracquemond 9 × 5<sup>7</sup>/<sub>8</sub> in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_001">1</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_002">Titre des Eaux-fortes sur Paris (D.17), 6&frac12; × 4<sup>15</sup>/<sub>16</sub> in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_002">2</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_003">Dédicace à Reynier Nooms, dit Zeeman (D.18), 6<sup>15</sup>/<sub>16</sub> × 2&frac34; in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_003">3</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_004">Ancienne Porte du Palais de Justice (D.19), third state 3<sup>7</sup>/<sub>16</sub> × 3<sup>3</sup>/<sub>8</sub> in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_004">4</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_005">Armes Symboliques de la Ville de Paris (D.21), third state, 5<sup>3</sup>/<sub>8</sub> × 4<sup>3</sup>/<sub>8</sub> in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_005">5</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_006">Le Stryge (D.23), eighth state, 6&frac34; × 5⅛ in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_006">6</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_007">Le Petit Pont (D.24), fifth state, 10&frac14; × 7&frac12; in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_007">7</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_008">L’Arche du Pont Notre-Dame (D.25), third state 6 × 7&frac34; in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_008">8</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_009">La Galerie Notre-Dame (D.26), third state, 11⅛ × 6<sup>15</sup>/<sub>16</sub> in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_009">9</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_010">La Rue des Mauvais Garçons (D.27), third state, 5 × 3<sup>7</sup>/<sub>8</sub> in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_010">10</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_011">La Tour de L’Horloge (D.28), third state, 10<sup>5</sup>/<sub>16</sub> × 7&frac14; in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_011">11</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_012">Tourelle de la Rue de la Tixéranderie (D.29), second state, 9&frac34; × 5<sup>3</sup>/<sub>16</sub> in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_012">12</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_013">Saint-Etienne-du-Mont (D.30), fifth state 9&frac34; × 5⅛ in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_013">13</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_014">La Pompe Notre-Dame (D.31), ninth state, 6&frac34; × 9<sup>7</sup>/<sub>8</sub> in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_014">14</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_015">La Petite Pompe (D.32), second state, 4&frac14; × 3⅛ in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_015">15</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_016">Le Pont-Neuf (D.33), eighth state, 7<sup>3</sup>/<sub>16</sub> × 7&frac14; in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_016">16</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_017">Le Pont-au-Change (D.34), second state, 6⅛ × 13<sup>1</sup>/<sub>16</sub> in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_017">17</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_018">Le Pont-au-Change (D.34), ninth state, 6⅛ × 13<sup>1</sup>/<sub>16</sub> in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_018">18</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_019">L’Espérance (D.35), (Vers destinés à accompagner Le Pont-au-Change), 2&frac12; × 5 in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_019">19</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_020">La Morgue (D.36), third state, 9⅛ × 8⅛ in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_020">20</a>
-<span class="pagenum"><a name="page_vi" id="page_vi">{vi}</a></span></td></tr>
-
-<tr><td class="pdd"><a href="#plt_021">L’Hôtellerie de la Mort (D.37), two plates each 4&frac34; × 1<sup>3</sup>/<sub>8</sub> in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_021">21</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_022">L’Abside de Notre-Dame de Paris (D.38), fourth state, 6&frac12; × 11&frac34; in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_022">22</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_023">Tombeau de Molière (D.40), second state, 2<sup>5</sup>/<sub>8</sub> × 2&frac34; in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_023">23</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_024">Charles Meryon, 1858. By Léopold Flameng, 8&frac34; × 10&frac34; in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_024">24</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_025">Tourelle de la Rue de L’Ecole.-de-Médecine (D.41), sixth state, 8<sup>3</sup>/<sub>8</sub> × 5<sup>3</sup>/<sub>16</sub> in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_025">25</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_026">Tourelle de la Rue de L’Ecole.-de-Médecine (D.41), ninth state, 8<sup>3</sup>/<sub>8</sub> × 5<sup>3</sup>/<sub>16</sub> in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_026">26</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_027">Rue des Chantres (D.42), first state, 11&frac34; × 5<sup>7</sup>/<sub>8</sub> in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_027">27</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_028">Rue des Chantres (D.42), fourth state, 11&frac34; × 5<sup>7</sup>/<sub>8</sub> in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_028">28</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_029">Collège Henri IV. (D. 43), sixth state, 11<sup>5</sup>/<sub>8</sub> × 18<sup>7</sup>/<sub>8</sub> in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_029">29</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_030">Bain-froid Chevrier (D.44), fourth state, 5⅛ × 5<sup>5</sup>/<sub>8</sub> in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_030">30</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_031">Le Ministère de la Marine (D.45), first state, 6<sup>5</sup>/<sub>8</sub> × 5&frac34; in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_031">31</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_032">Le Ministère de la Marine (D.45), fifth state, 6<sup>5</sup>/<sub>8</sub> × 5&frac34; in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_032">32</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_033">Le Pont-Neuf et la Samaritaine (D.46), third state, 5<sup>11</sup>/<sub>16</sub> × 8 in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_033">33</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_034">Le Pont-au-Change vers 1784, d’après Nicolle (D. 47), third state, 5<sup>5</sup>/<sub>16</sub> × 9<sup>3</sup>/<sub>8</sub> in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_034">34</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_035">La Salle des Pas-perdus à l’ancien Palais-de-Justice (D.48), fourth state, 10<sup>5</sup>/<sub>8</sub> × 17⅛ in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_035">35</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_036">Rue Pirouette aux Halles (D.49), third state, 6⅛ × 4<sup>9</sup>/<sub>16</sub> in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_036">36</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_037">Partie de la Cité vers la Fin du XVIIᵉ Siècle (D.51), seventh state, 6 × 12<sup>5</sup>/<sub>8</sub> in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_037">37</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_038">L’Ancien Louvre, d’après une peinture de Zeeman (D.53), fifth state, 6<sup>3</sup>/<sub>8</sub> × 10&frac12; in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_038">38</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_039">Porte d’un ancien Couvent à Bourges (D.54), second state, 6<sup>5</sup>/<sub>8</sub> × 4<sup>3</sup>/<sub>8</sub> in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_039">39</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_040">Rue des Toiles à Bourges (D.55), fifth state, 8&frac12; × 4&frac34; in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_040">40</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_041">Ancienne Habitation à Bourges (D.56), fourth state, 9<sup>5</sup>/<sub>8</sub> × 5<sup>7</sup>/<sub>16</sub> in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_041">41</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_042">Entrée du Couvent des Capucins à Athènes (D.61), third state, 7<sup>5</sup>/<sub>8</sub> × 5 in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_042">42</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_043">Nouvelle-Calédonie. Grande case indigène sur le Chemin de Ballade à Poepo (D.67), fourth state, 5<sup>5</sup>/<sub>8</sub> × 9&frac34; in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_043">43</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_044">Océanie, Pêche aux Palmes (D.68), fourth state, 6&frac14; × 13&frac14; in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_044">44</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_045">La Chaumière du Colon (D.72), third state, 3⅛ × 3 in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_045">45</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_046">Prô-volant des Iles Mulgrave (D.74), fifth state, 5&frac34; × 3⅛ in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_046">46</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_047">L. J.-Marie Bizeul (D.83), fourth state, 6&frac12; × 4<sup>5</sup>/<sub>8</sub> in.</a></td><td class="rt" valign="bottom">
-<a href="#plt_047">47</a></td></tr>
-
-</table>
-
-<p><span class="pagenum"><a name="page_vii" id="page_vii">{vii}</a></span></p>
-
-<h2 class="c"><a name="PREFACE" id="PREFACE"></a>PREFACE</h2>
-
-<p class="nind">No modern author could write on Meryon without acknowledging in the
-amplest terms, as I do, his indebtedness to M. Loys Delteil’s monograph
-on this great etcher in his <i>Peintre-Graveur Illustré</i> (1907). The
-biography which precedes it, and the quotations which it gives from
-Baudelaire and Burty, and from Meryon’s own comments on what Burty wrote
-about Meryon, make M. Delteil’s volume much more than a catalogue. The
-other books that I have chiefly consulted are Burty’s Catalogue of
-Meryon, translated by M. B. Huish (1879), and Aglaüs Bouvenne’s “Notes
-et Souvenirs sur Charles Meryon” (1883.) I have had no access to
-original documents, except the chief documents of all, the etchings
-themselves, or to books not generally known; but there may be readers,
-perhaps, who will welcome a brief account in English of Meryon’s career,
-an estimate of his rank as an etcher, and comments on all of his
-etchings that they have any need to know and admire. The originals of
-all the etchings reproduced in the plates, except the portrait by
-Bracquemond, are in the British Museum.</p>
-
-<p class="r">
-<small>C. D.</small><br />
-</p>
-
-<p>5 September, 1921.</p>
-
-<p><span class="smcap">Erratum.</span>&mdash;<i>Page 23, line 18 from top, for “February 4th” read “February
-14th.”</i><span class="pagenum"><a name="page_1" id="page_1">{1}</a></span><span class="pagenum"><a name="page_viii" id="page_viii">{viii}</a></span></p>
-
-<h2 class="c"><a name="THE_ETCHINGS_OF_CHARLES_MERYON" id="THE_ETCHINGS_OF_CHARLES_MERYON"></a>THE ETCHINGS OF CHARLES MERYON</h2>
-
-<h2 class="c"><a name="INTRODUCTION" id="INTRODUCTION"></a>INTRODUCTION.</h2>
-
-<p class="nind"><span class="letra">
-<img src="images/ltr_a.png"
-width="100"
-alt="A" /></span> CENTURY has passed since the birth of Meryon, a circumstance which
-excuses, if it does not actually demand, a survey in retrospect of the
-great etcher’s work and the growth of his renown. There is no
-indication, it must be said at once, that the lapse of time has weakened
-in any degree the sure fabric of his fame. About no other modern etcher,
-save Whistler, is there an equal consensus of opinion among those whose
-opinion counts, that he ranks among the great masters of his art.
-Whistler himself was a dissentient; he spoke one day to Mr. Wedmore of
-“Meryon, whom you have taken out of his comfortable place.” Without
-insinuating that he was jealous of a <i>confrère</i> with whom he was forced
-to share the honour of a Wedmore catalogue, it may be remarked that the
-utterances of such a lover of paradox as Whistler need not be taken too
-seriously. Nor is an artist always the best judge of a fellow artist who
-pursues very different aims from his own. Meryon’s reputation, though it
-is ungrudgingly admitted and admired by most etchers of to-day and
-yesterday, was established by the critics and collectors of a generation
-now extinct. Philippe Burty, who published the first critical article on
-Meryon and the first catalogue of his etchings in the <i>Gazette des
-Beaux-Arts</i> of 1863, was the first to discern clearly and to proclaim to
-the world his peculiar genius. Charles Baudelaire and Théophile Gautier
-added their words of praise and the <i>Galerie Notre-Dame</i> evoked the
-enthusiasm of Victor Hugo. Bracquemond, by twelve years his junior in
-age but his contemporary in the practice and mastery of etching, gave
-him all the support of his appreciation, and there was a small
-enlightened circle of collectors, including Wasset of the War Office,
-Niel of the Ministry of the Interior, Meryon’s former shipmate De
-Salicis, the English etcher Seymour Haden, and a few others who saw the
-great merit of his work<span class="pagenum"><a name="page_2" id="page_2">{2}</a></span> from the first. But on the whole his reception
-in France was cool and discouraging; academic opinion at the time was
-unfavourable to original etching. The editor of the <i>Gazette des
-Beaux-Arts</i> grudged admission to Burty’s essay and asked, if two
-articles were to be devoted to a modern etcher, how many would be needed
-for Raphael. His <i>Galerie Notre-Dame</i> was refused by the Salon in 1853,
-and though many of his Paris etchings were exhibited there, they gained
-no prize. The public collections did not acquire his works and it was
-not till 1866 that Burty induced the Chalcographie Impériale at the
-Louvre to commission and publish one of his plates, <i>L’Ancien Louvre</i>,
-after Zeeman (<a href="#plt_038">plate 38</a>). The stories told of the pitiful sums that he
-used to accept for proofs of his finest etchings, a franc and a half or
-two francs, sometimes, seem almost incredible now, when such proofs sell
-for hundreds of pounds. In a pathetic letter which he addressed in 1854
-to the Minister of the Interior, appealing to him for the support which
-he could not obtain from the public, he announced his intention of
-producing a set of ten etchings of Bourges, and charging fifteen francs
-for the set. He actually sold the whole series of his masterpieces,
-“Eaux-fortes sur Paris,” as a set, for twenty-five or thirty francs.
-They sold very slowly indeed. A receipt is extant from him for
-twenty-five francs paid by Baron Pichon in 1866, twelve years after the
-publication of the set, for “une suite de vues anciennes de Paris,
-gravées par moi à l’eau-forte, intitulées Eaux-fortes sur Paris.”</p>
-
-<p>It was not till 1910 that the first collective exhibition of Meryon’s
-etched work was held in Paris, at the Galerie Devambez. In England,
-where his fame was spread by Seymour Haden, Philip Gilbert Hamerton and
-Wedmore, Meryon’s reputation grew more rapidly, at least after his
-death. The great French private collections of his etchings crossed the
-Channel, Burty’s being sold in 1876, and the year 1879, eleven years
-after Meryon’s death, witnessed the publication of two different English
-catalogues of his etchings and the holding of a fine exhibition of his
-etchings and drawings at the Burling<span class="pagenum"><a name="page_3" id="page_3">{3}</a></span>ton Fine Arts Club, to which the
-Rev. J. J. Heywood was the largest contributor. Much later, in 1902, an
-important exhibition was held by Messrs. Obach &amp; Co., while Messrs. P.
-and D. Colnaghi &amp; Co., arranged another very fine Meryon exhibition in
-1919. The British Museum, fortunately, owes to the foresight of a former
-Keeper of Prints the early formation of a magnificent, though not
-complete, collection of Meryon, to which additions are still
-occasionally made, though they must needs be few now that a further
-stage in the migration of fine proofs is in progress and not the Channel
-only, but the Atlantic, parts them from their <i>pays d’origine</i>. The
-National Gallery of Scotland is fortunate in having obtained, by the
-gift of Mrs. G. R. Halkett, a small selection of very fine proofs of
-Meryon etchings, but Edinburgh’s gain is far less than was Glasgow’s
-loss by the sale, in 1916, of the collection of Mr. B. B. Macgeorge,
-which was undoubtedly the most complete work of Meryon ever brought
-together, containing, as it did, not merely almost every etching by the
-master in almost every state, but also a large number of his original
-drawings for the etchings of Paris. The year 1916 was an unfavourable
-time for acquiring such a valuable <i>œuvre</i> for any national or municipal
-museum, and the Macgeorge collection went to America and was dispersed,
-only a small number of proofs remaining in, or returning to, this
-country, where, I suppose, no one collection of importance still remains
-except that of the British Museum. A Meryon exhibition is being held at
-the Museum this autumn to celebrate the centenary of the artist’s birth.</p>
-
-<h2><a name="EARLY_LIFE" id="EARLY_LIFE"></a>EARLY LIFE</h2>
-
-<p>The story of Meryon’s life has often been told, but those who do not
-know it may welcome a brief recapitulation of it here, and indeed some
-such narrative is needed for the comprehension of his work, which
-becomes much more interesting when something is known of the period and
-circumstances in which it was produced. Meryon was born in Paris on
-November<span class="pagenum"><a name="page_4" id="page_4">{4}</a></span> 23rd, 1821, as the natural son of Dr. Charles Lewis Meryon, an
-English doctor, formerly physician and secretary to Lady Hester
-Stanhope, and an opera dancer, Pierre-Narcisse Chaspoux, aged
-twenty-eight, known as Mme. Gentil, who already had a daughter by an
-English peer. It was not till August 9th, 1824, that Dr. Meryon made a
-formal recognition of paternity and left a sum of money, on leaving
-France, for his son’s education. His mother brought him up with tender
-care, but he inherited from her apparently the mental disease with which
-he was afterwards afflicted; she died, out of her mind, in 1837 or 1838.
-At the age of five, under the name of Charles Gentil, he went to school
-at Passy, where he received some elementary lessons in drawing. A very
-childish drawing of houses, trees and a well, in red and black chalk, of
-which at a later period some one made a woodcut, is in the British
-Museum; by internal evidence one may judge it to be earlier than the
-elementary lessons. He went to Marseilles, Hyères, and to Italy, as far
-as Pisa and Leghorn; then returned to Paris till he made up his mind to
-go into the Navy, and, in 1837, entered the naval school at Brest. It
-was then that he adopted his father’s name of Meryon. Leaving the naval
-school in 1839, he sailed from Toulon in October in the <i>Alger</i> for the
-Levant, and was transferred at Smyrna, as a first-class cadet, to the
-<i>Montebello</i>. He visited Argos, the tomb of Agamemnon and the lion gate
-at Mycenae, and at Athens made drawings of the frieze of the Temple of
-Theseus and of the Choragic Monument of Lysicrates which appears in his
-etching of the <i>Convent of the French Capuchins at Athens</i>, 1854 (<a href="#plt_042">plate
-42</a>). On his return to Toulon he had further lessons in drawing. In 1842
-he went to sea again, being gazetted as “enseigne de vaisseau” to the
-corvette <i>Le Rhin</i>, which cruised about New Zealand, New Caledonia, and
-the islands of the Pacific. The fruits of these years of travel in
-Oceania may be seen in a number of etchings which he made in later life
-(Delteil 63-74). A multitude of pencil sketches made on his travels
-re<span class="pagenum"><a name="page_5" id="page_5">{5}</a></span>mained in his family’s possession till 1904, when they were given to
-the British Museum by Mr. Lewis Meryon. They include drawings of his
-shipmates, of native houses, fetishes and boats, palm trees and other
-vegetation, studies of skies and sunsets, with notes of colour, sketches
-of the flight of the albatross, drawings of fish and other fauna of the
-Pacific, and last, but not least, the original drawings for <i>Le malingre
-Cryptogame</i> (D. 66) and <i>Tête de chien de la Nouvelle-Hollande</i> (D. 65),
-the ship’s pet whose queer habits and tragic death by falling overboard
-before Meryon’s eyes are graphically described in one of his letters
-quoted at length in Burty’s memoir. Long afterwards, in conversations
-with Burty, Meryon used to say how his thoughts dwelt on the rocky coast
-of New Caledonia, where “he had met a race of savages, handsome, heroic,
-intelligent, where he had breathed an air overladen with balm, where, if
-he could, he should like one day to return to finish life free and
-happy.” On the return of <i>Le Rhin</i> in 1846 Meryon received six months’
-leave and returned to Paris. He had scruples about his constitution
-being strong enough for the profession of a sailor; he neglected to ask
-for an extension of his leave, and in the end his resignation was
-accepted and he left the Service on September 17th, 1846. He was then in
-possession of a sum of 20,000 francs left to him by his mother. He took
-a studio and had lessons from a painter named Philippe. He has recorded
-his enthusiasm at this time for the pictures of Delacroix, Decamps and
-Hogarth, whose work he had seen during a short visit to England. After
-some experiments in allegory, inspired by the proclamation of the
-republic at the February revolution, he abandoned painting for
-engraving, and entered the studio of the etcher, Eugène Bléry, in 1848.
-A circumstance which affected this decision was the discovery that his
-eyesight suffered from the defect known as Daltonism, a partial
-colour-blindness.<span class="pagenum"><a name="page_6" id="page_6">{6}</a></span></p>
-
-<h2><a name="THE_EARLY_ETCHINGS" id="THE_EARLY_ETCHINGS"></a>THE EARLY ETCHINGS</h2>
-
-<p>Bléry as an etcher has little interest for us, but he was sufficiently
-skilled to impart in six months a sound technique to a pupil, whose
-interest in the art was fostered by the study of old etchings and
-especially those of the Dutch etcher of architecture and marine
-subjects, Renier Zeeman (1623-1663), which he used to pick up for a few
-sous in the boxes outside the printsellers’ shops. Meryon’s first
-etching of all was a head of Christ, founded on a miniature after
-Philippe de Champaigne; the only impression known of this etching is in
-the Howard Mansfield collection at New York. During the years 1849-50 he
-produced a number of copies after Loutherbourg, Salvator Rosa, Karel du
-Jardin and others, but Zeeman fascinated him above all in the double
-capacity of an etcher of marines and of views of old Paris, and it was
-from his style that he learnt most. While still with Bléry his mind is
-said to have been slightly unhinged by an unfortunate love affair with
-the daughter of a restaurant keeper, who would have nothing to say to
-him. In solitary wanderings about the old streets of Paris and
-meditations in his garret in the Rue St. Etienne-du-Mont, he formed
-plans for his series of etchings of old Paris and began to make studies
-for them. As early as 1850 one of these masterly plates, <i>Le Petit Pont</i>
-(<a href="#plt_007">plate 7</a>), was finished.</p>
-
-<p>In making his studies of old houses and churches, Meryon seldom made a
-complete drawing on the spot. He would go every day at the same hour and
-make minutely finished studies of details on small bits of paper, which
-he either stuck together or made another drawing from them. He used an
-exceedingly sharp, hard pencil; the astonishing fineness of the line
-that he produced with it may be well seen in two early drawings of Rouen
-Cathedral from the Seine in the British Museum, which also possesses
-some of the drawings of architecture at Bourges, a place which first
-fascinated him on a visit made about 1848. In drawing architecture
-Meryon always worked upwards from the bottom of his object, saying that
-buildings were begun from the foundation and the artist<span class="pagenum"><a name="page_7" id="page_7">{7}</a></span> should follow
-the same method as the builder. In the same way he would draw men from
-the feet upwards, saying that they must always be planted firmly on
-their feet before they began to do anything. <i>Le Petit Pont</i> well
-illustrates another peculiarity of his practice in drawing architecture.
-He deliberately renounced any competition with the camera of the
-photographer, and claimed the right to arrange the different parts of
-what he drew in the manner best calculated to convey a certain
-impression, while preserving the utmost exactness in the representation
-of detail in each part. It has been observed, by those who know the spot
-well, that the towers of Notre-Dame, which dominate the whole
-composition, are much too high in the etching in regard to their actual
-dimensions and to the laws of perspective. After taking a drawing from
-very low down, near the edge of the water, Meryon drew the towers again
-from the level of the street, as the passer-by would habitually see
-them, and fitted this drawing with great skill into the former one,
-constructing by this combination a composition which produced the
-desired effect of impressive and majestic height, all the details being
-absolutely accurate, though on reflection it might be discovered that
-they could not all be seen at once.</p>
-
-<p><i>Le Petit Pont</i> is the first of his mature works, and marks an
-astonishing advance upon the exercises in copying other etchers which,
-with the exception of a few important portraits, are all that had
-preceded it. “Unimportant,” his own portrait, seated before an easel,
-could never have been, at least as a document, though it may have been
-immature, but we cannot judge of its quality, for Meryon destroyed it
-and preserved no proofs, and we only know of its existence from his own
-statement recorded by Burty. The only proof of his portrait of Eugène
-Bléry was destroyed by Bléry’s wife because she did not like it. Thus
-the only portrait of his quite early time which is actually extant is
-that of Edmond de Courtives, and of this only one impression, formerly
-in the Macgeorge collection, can actually be traced. It is a little
-medallion con<span class="pagenum"><a name="page_8" id="page_8">{8}</a></span>taining the head, reduced from an etching which according
-to Meryon’s own account was originally a half length, in which a violin
-and some chemical apparatus were introduced beside the sitter. It was an
-original etching, based on a drawing from life by Meryon himself.</p>
-
-<p>All the other portraits are of much later date, one belonging to the
-year 1856, the rest to 1861 or 1862 (<a href="#plt_047">plate 47</a>). None of them are
-original etchings; they are founded on drawings by others, old prints or
-photographs, in one case on a medallion by David d’Angers; they are
-quite insignificant and we shall have no need to mention them again. The
-other etchings of 1849-50 would have no interest for us if anyone else
-but Meryon had etched them. It is only the four oblong subjects of Paris
-and its vicinity after Zeeman that count for something more, because
-they show very plainly on what Meryon formed his taste, and anticipate,
-in the proportions and <i>ordonnance</i> of the plate and in the treatment of
-river boats and of the little figures on the banks of the Seine that we
-see in <i>Le Pavillon de Mademoiselle</i> and in <i>La Rivière de Seine et
-l’angle du Mail</i>, habits that we shall soon come to regard, when we
-consider the original etchings of Paris, as specially characteristic of
-Meryon himself.</p>
-
-<h2><a name="THE_ETCHINGS_OF_PARIS" id="THE_ETCHINGS_OF_PARIS"></a>THE ETCHINGS OF PARIS</h2>
-
-<p>But when we come to <i>Le Petit Pont</i> (<a href="#plt_007">plate 7</a>), etched in the same year
-as these copies after Zeeman, and exhibited in the Salon of 1850, we are
-aware of quite a different vision, a different order of intellect, as
-well as greater perfection of technical skill. It is becoming difficult
-for us after the lapse of seventy years, in which so many other etchers
-have been working on Meryon’s lines, to realise how new, how
-epoch-making in the strict sense of the word, was such an etching as <i>Le
-Petit Pont</i> in 1850. There had been fine engravers and etchers of
-architecture before Meryon; there had been Hollar, there had been
-Canale, Piranesi and Rossini. But they in their different degrees were
-facile and fluent, rhetorical, diffuse,<span class="pagenum"><a name="page_9" id="page_9">{9}</a></span> commercial, in comparison with
-the severe, tense, concentrated style of Meryon. In his “Eaux-Fortes sur
-Paris,” which extend in date from 1850 to 1854, he achieved a body of
-work which led the way in what is called the modern revival of etching
-and in its own special style has never been surpassed, though other
-etchers have triumphed in other styles of etching which were entirely
-outside Meryon’s limited compass. Not only was he in advance of all the
-other notable etchers of his generation, but he had finished this series
-of masterpieces before the others had begun to produce anything of
-importance. Millet began to etch in 1855; Whistler’s Paris set dates
-from 1858; Haden, though he had etched in the forties, did little that
-really counts till about 1858. Jacque and Daubigny were working before
-Meryon, but they are hardly in the same class. It was consonant with
-Meryon’s brooding, introspective temperament that he took the work of
-etching very seriously. He acquired a profound knowledge of the
-technique of the art and applied it, in the case of all his important
-etchings, with conscientious thoroughness. Disdaining anything like a
-sketchy treatment of his subject, he built up the whole design
-laboriously, painfully, with tireless perseverance, after making the
-most conscientious studies of detail. He was, in fact, by habit and
-temperament more an engraver than an etcher, though he used the etching
-process instead of attacking the copper with a burin.</p>
-
-<p>But nothing that I have yet said explains what there is in Meryon that
-makes us regard him as a great artist. Any etcher might have taken all
-these pains and yet remained to the end nothing but an industrious
-plodder. It was the combination, in Meryon, of this high degree of
-mechanical skill with a fine instinct for design and the poet’s vision
-which was still more specially his prerogative, that places him in a
-different category from a Lalanne, a Martial-Potémont or an Edwin
-Edwards. The old streets of Paris were not, for him, merely storehouses
-of picturesque motives, structures composed of walls and porticoes,
-gables and spires, on which the sun<span class="pagenum"><a name="page_10" id="page_10">{10}</a></span> arranged at different times of day
-different patterns of light and shade; they were that, certainly, and
-his etcher’s eye, trained to observe niceties of gradation between black
-and white rather than varieties of actual colour, took full advantage of
-their hitherto unexplored wealth of suggestion. Leaving all metaphor out
-of court, his actual eyesight was astonishingly keen; he saw details of
-architecture with the naked eye which would be revealed to average
-persons only by a telescope. But to him the streets of Paris were
-haunted places, peopled with ghosts and wet with tears. Their atmosphere
-was infected by old crimes and miseries and sins. The lonely meditations
-of a brain already morbid, affected even when he was a boy by the
-discovery that he was a bastard, suspicious in later life and shrinking
-from human intercourse, were reflected in the melancholy which seems, to
-sympathetic observers, to brood over the dark narrow streets, survivors
-of a mediæval Paris, much of which was doomed to destruction in the
-great demolitions and reconstructions of the Second Empire. But Meryon
-did not trust entirely to sympathetic observation to discern his
-meaning. He expressed himself directly in verses, which were meant to be
-published, and in some cases actually were published, along with the
-architectural etchings, to explain what reflections the subjects aroused
-in the etcher’s mind. Sometimes these verses were etched at the foot of
-the subject itself, as in the fourth state of <i>Le Stryge</i>; more often
-they were etched on separate plates, in cursive writing, with little
-ornaments and rather elaborate capitals, the stanzas carefully spaced in
-a decorative arrangement. They may be seen reproduced, so far as they
-were actually etched, in M. Loys Delteil’s catalogue, but the whole of
-Meryon’s verses, including some that he did not etch, are collected and
-presented in a more legible form, being printed with type, in Aglaüs
-Bouvenne’s “Notes et Souvenirs sur Charles Meryon.” They are jerky,
-queer and amateurish verses, but they throw so much light on Meryon’s
-mentality that they must not be neglected by any student of his art.<span class="pagenum"><a name="page_11" id="page_11">{11}</a></span></p>
-
-<p>It is time that we returned to the Paris etchings themselves, of which
-only one, <i>Le Petit Pont</i> (<a href="#plt_007">plate 7</a>), has hitherto been mentioned in our
-survey of the progress of Meryon’s work. The complete series as he
-published them himself, in three parts, between 1852 and 1854, consists
-of twenty-two etchings,<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> preceded by a portrait of Meryon etched by
-Bracquemond; not the half-length portrait, seated, with the hand resting
-on the back of a chair (<a href="#plt_001">plate 1</a>),<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> which was etched in 1853 (Beraldi
-77), but the head in profile to the left (Beraldi 78), in imitation of
-an antique sculpture in relief, with the legend, composed and etched by
-Meryon himself, in 1854:</p>
-
-<div class="poetry">
-<div class="poem"><div class="stanza">
-<span class="i0">Messire Bracquemond<br /></span>
-<span class="i0">A peint en cette image<br /></span>
-<span class="i0">Le sombre Meryon<br /></span>
-<span class="i0">Au grotesque visage.<br /></span>
-</div></div>
-</div>
-
-<p>Of the “cahiers” which were issued of the Paris set, containing this
-portrait, probably not one remains to-day intact. The twenty-two
-etchings by Meryon himself consisted of an etched title (<a href="#plt_002">plate 2</a>)
-printed on grey, brown, blue or green paper (in which, it should be
-noticed, as well as in the address etched at the foot of each plate, the
-etcher calls himself Meryon, not Méryon), four small preliminary
-etchings, twelve important subjects, which bear numbers in the final
-state, which was not printed till 1861 and then in an edition of thirty
-only, and five more plates which were never numbered, and which, as
-regards size at least, must be counted as “minor” works, though<span class="pagenum"><a name="page_12" id="page_12">{12}</a></span> they
-include <i>La Rue des Mauvais Garçons</i> (<a href="#plt_010">plate 10</a>), a plate to which
-posterity attaches a high value, if Meryon did not do so himself. Some
-of the minor etchings are so extremely rare that they must have been
-printed in small numbers and not generally included in the “cahier.”
-Several rather important etchings of Paris were done at a later date,
-and did not form part of the “Eaux-Fortes sur Paris” set.</p>
-
-<p>The dedication to Zeeman, “peintre des matelots” (<a href="#plt_003">plate 3</a>), is in verses
-which express in simple language Meryon’s love and admiration for the
-master who had inspired his early efforts, concluding with the words:&mdash;</p>
-
-<div class="poetry">
-<div class="poem"><div class="stanza">
-<span class="i0">Mon maître et matelot,<br /></span>
-<span class="i0">Renier toi que j’aime<br /></span>
-<span class="i0">Comme un autre moi-même<br /></span>
-<span class="i0">A revoir, à bientôt.<br /></span>
-</div></div>
-</div>
-
-<p>The frontispiece (<a href="#plt_004">plate 4</a>), a round composition in which a devil
-carrying a great scroll hovers against a lurid sky over the Gothic
-gateway of the Palais de Justice, is a sinister design. The Tomb of
-Molière (<a href="#plt_023">plate 23</a>), tail-piece to the set, was etched on the same plate,
-and a proof exists from the undivided copper containing both designs.
-The verses following the frontispiece are a comment on the latter, and
-express Meryon’s conviction that the city of Paris, “Paris le Paradis
-des amours et des Ris,” is possessed by a “noir Diabloton, malicieux,
-mutin,” fostered by science, and that this “méchant animal, Origine du
-mal” cannot be exorcised without razing the city to the ground. These
-etched verses are very rare. The symbolical coat of arms of the city of
-Paris (<a href="#plt_005">plate 5</a>) is another of the minor pieces inserted in 1854, when
-the set was being completed. Then follows <i>Le Stryge</i> (<a href="#plt_006">plate 6</a>), etched
-in 1853, one of the most original and impressive of all Meryon’s
-etchings. His elbows propped on the ledge of the balcony, one of the
-Gothic monsters of the western towers of Notre-Dame broods with head in
-hands and lolling tongue, an enigmatical and evil expression in his eye,
-over the city of Paris seen far below, with the Tour St. Jacques as the
-most<span class="pagenum"><a name="page_13" id="page_13">{13}</a></span> prominent object. Jackdaws circle in the air about the towers, and
-graven beneath the oval, in one state only of the plate, is the sinister
-couplet:&mdash;</p>
-
-<div class="poetry">
-<div class="poem"><div class="stanza">
-<span class="i0">Insatiable vampire, l’éternelle luxure<br /></span>
-<span class="i0">Sur la grande cité convoite sa pâture.<br /></span>
-</div></div>
-</div>
-
-<p>The delicacy of the work, in fine proofs, is beyond the power of any
-mechanical process to reproduce. Two pencil studies, formerly in the
-Macgeorge collection, are very interesting as showing Meryon’s
-conscientious method of preparation for this plate. He made one very
-highly finished drawing of all that is seen of the city of Paris down
-below, reserving blank spaces for the Stryge and for the Tour St.
-Jacques&mdash;there is also a trial state of the plate, showing that all this
-portion of the design was etched first, directly from this drawing&mdash;and
-then another equally finished drawing of the tower and the stone monster
-by themselves, with all the rest of the subject drawn in outline,
-probably traced from the first drawing. A drawing by Meryon of another
-of the monsters of Notre Dame, a monkey, with a set of verses written
-beside it, is reproduced in Bouvenne’s “Notes et Souvenirs.” Then
-follows <i>Le Petit Pont</i> (<a href="#plt_007">plate 7</a>), in which the twin towers of
-Notre-Dame, beautifully placed on the plate, surmount the long rows of
-houses on the Quai du Marché Neuf and dominate the whole composition.
-The outline drawing which Meryon made from the level of the shore,
-showing the towers very much lower, is reproduced in M. Delteil’s
-catalogue. <i>L’Arche du Pont Notre-Dame</i> (<a href="#plt_008">plate 8</a>), especially in the
-beautiful proofs on green paper, is one of the most charming of the
-whole series and free from any eccentricity. <i>La Galerie Notre-Dame</i>
-(<a href="#plt_009">plate 9</a>) is a very beautiful rendering of Gothic architecture, and a
-most delicate study of effects of light, direct and reflected. The
-impressions vary much, some being rich in tone and rather veiled, others
-clean wiped and of a silvery clearness. The highly finished drawing
-which Meryon etched almost in facsimile, only adding clouds in the sky,
-was in the Macgeorge collection.<span class="pagenum"><a name="page_14" id="page_14">{14}</a></span></p>
-
-<p><i>La Rue des Mauvais Garçons</i> (<a href="#plt_010">plate 10</a>), which formed the <i>cul-de-lampe</i>
-or tail-piece of the first <i>livraison</i> of “Eaux-Fortes sur Paris,” has
-always impressed modern observers as one of the most powerful and
-impressive of the etchings, fraught with mystery, enigmatic, suggestive
-of long past tragedies. “Quel mortel habitait,” are the verses etched on
-the building, “En ce gîte si sombre? Qui donc là se cachait Dans la nuit
-et dans l’ombre?” Was it Virtue, in silent poverty; was it Crime? No
-answer to the riddle is attempted. The street exists no longer.</p>
-
-<p><i>La Tour de l’Horloge</i> (<a href="#plt_011">plate 11</a>) was drawn and etched in 1852 while
-alterations were in progress which materially altered the appearance of
-Le Châtelet. This plate has always struck me as being a very
-straightforward and masterly portrait of a building, but without so much
-personal expression as Meryon generally contrived to impart to his other
-etchings. An edition of 600 copies of Delteil’s sixth state was
-published in <i>L’Artiste</i> in 1858, and it was only after this large
-edition had been struck off that Meryon made a rather important change
-in the plate, which appears in the last two states, by making rays of
-light issue, somewhat unaccountably, from the windows between the high
-square tower and the first of the round ones. <i>Tourelle de la rue de la
-Tixéranderie</i> (<a href="#plt_012">plate 12</a>), also etched in 1852, was drawn just before its
-demolition. The etching gives a very beautiful effect of sunlight on a
-most picturesque old house, with the lower part of its turret wreathed
-in the foliage of a creeper; but the mediæval knight in helm and plumes,
-who rides along the street, and the nude woman standing in the doorway
-(in the first state) are curious additions to the scene. The latter
-figure was retouched in the final state. <i>Saint-Etienne-du-Mont</i> (<a href="#plt_013">plate
-13</a>), also etched in 1852, is similar in style, as in dimensions, to the
-last subject. It gives, again, a beautiful effect of sunlight, and the
-architectural details of the church are shown with an exquisite
-clearness. The little figures are lively and interesting, but in the
-state here reproduced a blemish may be noticed; the raised<span class="pagenum"><a name="page_15" id="page_15">{15}</a></span> arms of a
-workman on the scaffolding, near the gas lamp on the right, have been
-effaced, to be restored in the next state.</p>
-
-<p><i>La Pompe Notre-Dame</i> (<a href="#plt_014">plate 14</a>), another plate belonging to the
-prolific year 1852, is one of the most picturesque etchings of the
-series. The proportions of the various masses of architecture to the
-oblong plate are perfectly satisfying, and the eye delights in the
-intricate lines, alternately light and dark, of the two wooden
-structures that rise out of the water like the piles of a “lake
-dwelling.” Meryon excuses himself, in an interesting letter, for making
-the towers of Notre-Dame higher than they should be, as actually seen
-from this point of view: “Les Tours saillent aussi un peu plus que dans
-la réalité; mais je considère que ce sont licenses permises, puisque
-c’est pour ainsi dire dans ce sens que travaille l’esprit, sitôt que
-l’objet qui l’a frappé a disparu de devant les yeux” (quoted by M. Loys
-Delteil from a letter to Paul Mantz). This plate was published in an
-edition of 600 by <i>L’Artiste</i> in 1858; before that time the building
-itself had been demolished. Meryon alludes to the impending demolition
-in the rather insignificant little design, with some doggerel verses
-etched within it, known as <i>La Petite Pompe</i> (<a href="#plt_015">plate 15</a>), of 1854.</p>
-
-<p><i>Le Pont-Neuf</i> (<a href="#plt_016">plate 16</a>), an etching of 1853, is the ninth of the set
-as Meryon numbered it. It is a solid, masterly piece of architectural
-etching about which there is not much to be said. The light falling on
-the truncated turrets of the bridge and reflected on the surface of the
-river is very subtly observed. In the sixth state, and in that only,
-eight verses are etched, beginning</p>
-
-<table border="0" cellpadding="0" cellspacing="0" summary="">
-<tr><td align="left">Ci-gît du vieux Pont Neuf&nbsp; &nbsp; &nbsp; </td><td align="left">L’exacte ressemblance</td></tr>
-<tr><td align="left">Tout radoubé de neuf</td><td align="left">Par récente ordonnance.</td></tr>
-</table>
-
-<p>This is poor stuff, and Meryon was well advised to suppress it in later
-states.</p>
-
-<p><i>Le Pont-au-Change</i> (<a href="#plt_017">plates 17</a>, <a href="#plt_018">18</a>), etched in 1854, shows again Le
-Châtelet and the Tour de l’Horloge, and, beyond the bridge, the tower,
-with which we are now familiar, of La Pompe Notre-Dame. This etching is
-remarkable for the<span class="pagenum"><a name="page_16" id="page_16">{16}</a></span> many changes introduced into the sky in successive
-states. From the second to the sixth state of Delteil there is a balloon
-floating in the sky towards the left, inscribed <small>SPERANZA</small> (<a href="#plt_017">plate 17</a>), to
-which the verses <i>L’Espérance</i> (<a href="#plt_019">plate 19</a>) allude. In the seventh state
-this balloon disappears; in its stead there are great flights of birds
-across the sky, of which the lower resemble wild duck, while the upper
-ones, with longer wings, have got hooked beaks which make them look more
-like birds of prey than the jackdaws which one would expect to fly round
-the towers of a city. These remain (<a href="#plt_018">plate 18</a>) during several alterations
-in the plate, until the tenth state, when they have disappeared from the
-left, though a concentrated flock wheels about the Tour de l’Horloge,
-and their place is taken by new balloons, near and distant, and in the
-eleventh state by still more balloons, one of which bears the name of
-Vasco de Gama. This is all rather crazy, and the alterations were made,
-like those on other plates to which we shall refer later, after Meryon’s
-mind had finally become deranged. This is evidently the etching referred
-to in a letter from Baudelaire to Poulet Malassis (quoted by M. Loys
-Delteil): “Dans une de ses grandes planches, il a substituté à un petit
-ballon une nuée d’oiseaux de proie, et, comme je lui faisais remarquer
-qu’il était invraisemblable de mettre tant d’aigles dans un ciel
-parisien, il m’a répondu que cela n’était pas dénué de fondement,
-puisque ces gens-là (le gouvernement de l’Empereur) avaient souvent
-lâché des aigles pour étudier les présages, suivant le rite,&mdash;et que
-cela avait été imprimé dans les journaux, même dans le <i>Moniteur</i>. Je
-dois dire qu’il ne se cache en aucune façon de son respect pour toutes
-les superstitions, mais il les explique mal, et il voit de la cabale
-partout.” This letter dates from January 1860, a few months after Meryon
-had been released from his first confinement in an asylum, and it must
-be observed that any eccentricities due to mental derangement can only
-be traced in plates etched subsequently to 1859, or in the <i>late
-states</i>, produced by re-touching after that date, of the “Eaux-fortes
-sur Paris” them<span class="pagenum"><a name="page_17" id="page_17">{17}</a></span>selves, which, as first completed in 1854, the year of
-this publication, had been perfectly normal.</p>
-
-<p>Another of the etched poems, “<i>L’Espérance</i>,” accompanies <i>Le
-Pont-au-Change</i>. After this, two more of the “Eaux-Fortes” remain to be
-noticed, and they are by general agreement the finest of the whole set:
-<i>La Morgue</i> and <i>L’Abside de Notre-Dame de Paris</i>, both etched in 1854.
-<i>La Morgue</i> (<a href="#plt_020">plate 20</a>) combines a masterly distribution of black and
-white spaces and a perfectly successful treatment of the windows, roofs
-and chimneys, which rise in a curious succession of different levels
-from the riverside, with a motive of poignant human interest in the
-dramatic group that bears, on the left, the body of a drowned man from
-the Seine towards the “Doric little Morgue,” as Browning calls it, on
-the right. The associations of the building, irresistibly suggested by
-this incident, are explained in the pathetic little poem, “<i>L’Hôtellerie
-de la Mort</i>” (<a href="#plt_021">plate 21</a>), Meryon’s finest effort in verse, etched on two
-separate plates and intended to accompany <i>La Morgue</i>, but so rare that
-it very seldom does so. “The bed and the table that the City of Paris
-offers gratis at any time to its poor children,” we can imagine what
-they are&mdash;a marble slab, with water dripping down it, under that roof so
-magnificently etched.</p>
-
-<div class="poetry">
-<div class="poem"><div class="stanza">
-<span class="i0">“Puissiez-vous ne point voir<br /></span>
-<span class="i1">Là sur le marbre noir<br /></span>
-<span class="i1">De quelqu’âme chérie<br /></span>
-<span class="i1">La navrante effigie!”<br /></span>
-</div></div>
-</div>
-
-<p>The poem was evidently completed originally in the first column, ending
-with Meryon’s name, address and date, to which he added as an
-afterthought a second column of verses full of consoling thoughts and
-ending with words of faith and hope about the expansion of a flower “à
-la fraiche corolle, à la sainte auréole,” a flower of love and
-happiness, from the germ that is in man’s heart. In the impression at
-the British Museum, words of bad omen, like “Mort,” “Misère,” “Plaisir,”
-are printed in red, and the good words, “Dieu,<span class="pagenum"><a name="page_18" id="page_18">{18}</a></span>” “Cieux,” “Amour,” and
-“Bonheur,” are printed in blue. Then follows <i>L’Abside</i> (<a href="#plt_022">plate 22</a>), the
-justly famous masterpiece for which higher sums are paid to-day than for
-any other etching except some of Rembrandt’s. The design of the whole
-plate, the lighting of the sky and of the side of the majestic
-cathedral, the proportion of the towers and high-pitched roof of
-Notre-Dame to the massive but comparatively insignificant buildings
-along the line of the Seine combine to produce a total effect of
-unrivalled dignity and charm. How eloquent, too, is the contrast of all
-that splendid architecture across the river with the squalid foreground,
-where heaps of sand are being shovelled into carts, and barges of the
-humblest kind are moored along the shore. <i>L’Abside</i>, again, has a
-little etched poem “O toi dégustateur de tout morceau gothique,” to
-accompany it, but this is one of the very rarest of Meryon’s etchings
-and is not in the British Museum, though the verses are written in
-pencil by Meryon’s hand on the margin of one of the states of <i>L’Abside</i>
-in that collection. Then, with the <i>Tombeau de Molière</i> (<a href="#plt_023">plate 23</a>) the
-series closes. Not only in the intensity of this realisation of his
-subject and in the perfect skill of the actual etching was Meryon a
-great innovator, but also in the importance that he attached to the
-utmost care in printing. In collaboration with Auguste Delâtre, the best
-printer of etchings of his day, Meryon produced exquisite proofs of the
-early states of the “Eaux-fortes sur Paris” printed in carefully
-composed brown and black inks on the choicest papers, green, brown,
-yellowish, white, of old Dutch manufacture or imported from Japan. This
-was a complete innovation in 1850, and he set an example which the most
-scrupulous etchers and printers have endeavoured to follow to this day
-but have never surpassed. Like most French etchers, Meryon preferred
-proofs from clean wiped plates to those printed with any considerable
-amount of tone. A letter from Meryon himself on this subject, written in
-1863, is quoted by Burty.</p>
-
-<p>During the production of all these masterpieces Meryon was<span class="pagenum"><a name="page_19" id="page_19">{19}</a></span> living,
-almost a recluse, in his rooms in the Rue St. Etienne-du-Mont. He had
-great difficulty in selling proofs of his etchings, though he asked no
-more than 30 francs for a Paris set. He took them in vain to various
-publishers; there were then no dealers who sold etchings of this kind.
-He had spent the money left to him by his mother; he gained no rewards
-at the Salon; the Chalcographie Impériale du Louvre ignored him. He was
-almost starving, says Burty, when he made the acquaintance of M. Jules
-Niel, librarian at the Ministry of the Interior, a cultivated man who
-recognised at once the significance of Meryon’s work. He obtained the
-purchase of several sets of the etchings by the Minister and orders for
-other work to be done by Meryon in the shape of reproductions of
-historical drawings. In the winter of 1855-56 the Duke of Aremberg had
-seen the Views of Paris at Montpellier. In 1857 he sent for Meryon to
-Belgium, and commissioned him to etch views of his park at Enghien. But
-Meryon was just then becoming a prey to mental disease, and he returned
-to Paris, in great trouble of mind, in March 1858. He became more and
-more unsociable, especially after he removed to a little hotel in the
-Rue Fossé St. Jacques. Delâtre looked after him as best he could, but
-Meryon refused to leave his bed, saying that he could not cross a sea of
-blood, and threatened with a pistol those who approached him. Whilst he
-was in this state Léopold Flameng drew, in May 1858, the well-known
-portrait of Meryon in bed, sitting up, with a large black cravat round
-his neck, the dark shadow of his head thrown upon the wall by the rays
-of a lamp (<a href="#plt_024">plate 24</a>). The features are sharp and emaciated with
-self-imposed fasting. When the drawing was finished, Meryon asked to see
-it. He sprang out of bed and tried to tear it up, but Flameng fled with
-the portrait. On the following day, May 12th, Meryon was carried off to
-the asylum at Charenton St. Maurice. The discipline and regular food,
-instead of semi-starvation, had a good effect on him, and he was quiet,
-gentle and polite. While he was in the asylum he made one etching, from
-a<span class="pagenum"><a name="page_20" id="page_20">{20}</a></span> drawing of the ruins of Pierrefonds brought to him by the architect,
-Viollet le Duc. It was during this time that Delâtre had impressions of
-some of his plates published by <i>L’Artiste</i>. On the 25th August, 1859,
-Meryon was released on leave for three weeks, and did not actually go
-back to the asylum until 1866.</p>
-
-<h2><a name="OTHER_ETCHINGS_OF_THE_FIFTIES" id="OTHER_ETCHINGS_OF_THE_FIFTIES"></a>OTHER ETCHINGS OF THE ’FIFTIES</h2>
-
-<p>The Paris set had almost entirely absorbed his energies during the years
-of its production, but he made one or two other good etchings during the
-same period. Two of the Bourges etchings belong to this time, the third
-being much later. The only etching of 1851 was <i>Porte d’un ancien
-Couvent, Bourges</i> (<a href="#plt_039">plate 39</a>), a lightly etched plate, parts of which
-were only drawn in outline. Meryon printed very few copies of it, and
-intended to complete it later, but it is a very beautiful piece of work
-in its present condition. Meryon projected the publication of a Bourges
-set, but it always remained in abeyance. Two draughts exist in his
-handwriting, dated 1852, for the lettering of a title page to such a
-set, and M. Delteil prints a letter addressed by him in 1854 to the
-Ministry of the Interior, in which he sends a proof of the first plate
-etched of the proposed Bourges set (meaning, no doubt, <i>Rue des Toiles,
-Bourges</i>) and begs for a subscription for fifty copies of a set of ten
-etchings at fifteen francs a set. The set was to consist of four
-etchings of the same dimensions as the specimen submitted and six
-etchings of details of buildings. The etchings were to represent private
-houses, which were in more danger of demolition than public monuments.
-He sent <i>Porte d’un ancien Couvent</i> (<a href="#plt_039">plate 39</a>) as a specimen of the less
-important etchings that he projected. In the same letter he recalls that
-the Ministry had subscribed for fifty copies of the Paris set, which had
-been originally intended to consist of ten etchings (he counts only the
-important subjects which ultimately received numbers); he had now
-decided to add two more (<i>La Morgue</i> and <i>L’Abside</i>) and begged the
-Minister to subscribe<span class="pagenum"><a name="page_21" id="page_21">{21}</a></span> for fifty copies of these additional plates at
-two francs each, adding that such help as he would get from the Ministry
-was almost his only assistance in view of the indifference of the
-public. <i>Rue des Toiles à Bourges</i> (<a href="#plt_040">plate 40</a>) is a very fine etching,
-comparable to some of the rather similar subjects in the Paris set,
-notably <i>Tourelle, Rue de la Tixéranderie</i>. The early impressions of it
-are very beautifully printed. The British Museum has recently acquired a
-probably unique first state, earlier than any described by M. Delteil,
-printed before the plate had been reduced to its ultimate dimensions.
-The third Bourges etching, <i>Ancienne habitation à Bourges</i> (<a href="#plt_041">plate 41</a>)
-was added much later, in 1860, and is in the style of some of the late
-Paris etchings, but not so good. The only other etchings that date from
-the period of the “Eaux-Fortes sur Paris” are the <i>Verses to Eugène
-Bléry</i> (two different plates with the same contents, D. 88, 89) and the
-fine <i>Entrée du Couvent des Capucins à Athènes</i> (<a href="#plt_042">plate 42</a>), both etched
-in 1854. Though Meryon had drawn in early youth the Choragic Monument of
-Lysicrates which was then partly embedded in the buildings of the French
-Capuchins at Athens, though it was afterwards detached from the wall,
-his etching is copied from one of the plates by J. P. Le Bas in J. D. Le
-Roy’s “Ruines des plus beaux monuments de la Grèce,” Paris, 1758.</p>
-
-<p>It was about this time that Meryon began to etch plates of antiquarian
-interest from old drawings or prints. Though they were commissioned for
-illustrations, it is evident, among other things from a letter of
-Baudelaire’s written in 1860, that Meryon himself developed a rather
-tiresome habit of research, both pedantic and eccentric in its methods.
-One of the best of these derivative etchings, the <i>Salle des Pas-Perdus</i>
-(<a href="#plt_035">plate 35</a>), after Ducerceau, dates from 1855, and <i>Le Pont-Neuf et la
-Samaritaine</i> (<a href="#plt_033">plate 33</a>) and <i>Le Pont-au-Change vers 1784</i> (<a href="#plt_034">plate 34</a>)
-were also etched in the same year. They are fine etchings, but do not
-arouse the same interest as Meryon’s first-hand impressions of the Paris
-of his own day. <i>Le Château de Chenonceau</i>, also after Ducerceau, and
-etched in a very<span class="pagenum"><a name="page_22" id="page_22">{22}</a></span> dry manner, is a plate of 1856, and in the same year
-he etched, from photographs, the large panoramic view of <i>San
-Francisco</i>. More typical Meryons are the two queer etchings of 1855 and
-1856 called <i>La Loi Solaire</i> and <i>La Loi Lunaire</i>, in which he
-propounded very crazy views on morality, one of them being that an
-upright posture is the proper attitude for sleep, a theory which he
-himself carried into practice in later years, by passing the night
-between two upright boards with his arms supported by loops of rope to
-keep him from falling. <i>Le Pilote de Tonga</i>, a prose poem in a frame,
-etched in 1856, is the first of what grew, in the sixties, into a long
-series of etchings founded on his sketches and reminiscences of his
-early voyage to the South Seas. These filled an even larger place in his
-thoughts in his last years, but it is to be feared that the etchings of
-these subjects, of which a few specimens are here reproduced (<a href="#plt_043">plates
-43-46</a>), leave posterity rather cold.</p>
-
-<h2><a name="THE_LATE_ETCHINGS" id="THE_LATE_ETCHINGS"></a>THE LATE ETCHINGS</h2>
-
-<p>The only etchings of any importance that Meryon produced after his
-release from confinement are some of the last views of Paris, done at
-the time when he was retouching his old plates of Paris and making the,
-not very judicious, alterations which distinguish their latest states.
-The new ones are: <i>Rue Pirouette</i> (1860, <a href="#plt_036">plate 36</a>), <i>Tourelle de la rue
-de l’Ecole-de-Médecine</i> (1861), which shows the house in which Marat was
-assassinated (<a href="#plt_025">plates 25</a>, <a href="#plt_026">26</a>), <i>Rue des Chantres</i> (1862, <a href="#plt_027">plates 27</a>, <a href="#plt_028">28</a>),
-<i>Collège Henri IV</i> (1864, <a href="#plt_029">plate 29</a>), <i>Bain-froid Chevrier</i> (1864, <a href="#plt_030">plate
-30</a>), <i>Le Ministère de la Marine</i> (1866, <a href="#plt_031">plates 31</a>, <a href="#plt_032">32</a>) and <i>L’ancien
-Louvre, vers 1650</i> (1866, <a href="#plt_038">plate 38</a>), in which, fulfilling a commission
-from the Chalcographie du Louvre, he returned to the study of his old
-love, Renier Zeeman. The <i>Rue des Chantres</i> is incomparably the finest
-of these, but it can only be seen to real advantage in the very rare
-early states, one of which the British Museum possesses (<a href="#plt_027">plate 27</a>), in
-which the spire, a recent addition to Notre-Dame designed by
-Viollet-le-Duc, soars into an empty sky, which was after<span class="pagenum"><a name="page_23" id="page_23">{23}</a></span>wards
-disfigured by the incongruous insertion of two bells and a device with
-the initials J. B. (<a href="#plt_028">plate 28</a>). The streets of all the etchings of the
-sixties are filled with excited crowds or little groups of tall,
-unnatural looking people, and all kinds of curious monsters and
-allegorical figures hover in the sky or swoop in rapid flight across it.
-The <i>Collège Henri IV</i> (<a href="#plt_029">plate 29</a>) in some of its states, has for
-background a sea with sails and whales and sea-gods, and the figures in
-the foreground are the most extraordinary that Meryon ever drew.</p>
-
-<p>It is of no use to dwell at length on these symptoms of mental decline.
-The lonely artist, subject to hallucinations, thinking that Jesuits were
-watching him in every street, quarrelling with his best friends, who
-found it impossible to help him, almost starving because he thought it
-wrong to eat when others were in need, was no longer capable of the
-concentrated effort that had produced the masterpieces of the first half
-of the fifties. On October 12th, 1866, he was shut up again at
-Charenton, where he died on February 4th, 1868, and where a friend of
-his sailor days, De Salicis, pronounced an oration over his grave.
-Bracquemond etched, with a few symbolical ornaments, a copper plate to
-be laid on the slab of black Breton stone, resting on cubes on white
-stone, which covered his tomb.</p>
-
-<p>His life had been a failure; he was himself only too ready to proclaim
-it. He regarded art as something so mysterious, so sacred, as to be
-quite out of reach. “L’art pour lui n’existait qu’ à l’état de fétiche,
-d’idéal,” wrote Dr. Gachet to Bouvenne, “on ne devait pas y toucher&mdash;il
-n’y avait pas d’artistes.” To praise him as an artist was to make of him
-an enemy. To such a temperament fame was denied while he lived. It
-remained for posterity to do homage that could meet with no rebuff. The
-sincerest flattery, that of imitation, has been offered to Meryon
-without stint by a generation of etchers that was being born while he
-was relaxing by degrees his imperfect grasp of life.<span class="pagenum"><a name="page_24" id="page_24">{24}</a></span></p>
-
-<h2><a name="LIST_OF_MERYONS_ETCHINGS" id="LIST_OF_MERYONS_ETCHINGS"></a>LIST OF MERYON’S ETCHINGS</h2>
-
-<p>Besides the earliest full catalogue of Meryon’s etchings, that by P.
-Burty, translated into English by M. B. Huish (1879), which derives its
-value from Burty’s Memoir of Meryon and his notes on certain of the
-etchings, there are two catalogues of Meryon in general use, that
-written by the late Sir F. Wedmore (“Méryon and Méryon’s Paris,” 2nd
-ed., London, 1892) and the much more thorough catalogue by M. Loys
-Delteil (1907) which forms Tome II. of the series, “Le Peintre-Graveur
-illustré.” The British Museum collection is still arranged in Wedmore’s
-order, which has one practical advantage: it gives precedence to the
-important works, the etchings of Paris, and describes the other etchings
-as minor works after these. Thus the visitor, not an expert, who asks
-for Meryon’s etchings and receives the first volume, finds in it at once
-a number of the masterpieces. He can persevere, if he will, and see the
-minor works also; but, if he is more easily tired, he will at least have
-seen the Paris set while his eye is fresh, and will have spent none of
-his energy on the early experiments. On the other hand, Delteil is not
-pedantically chronological; he also places the Paris etchings early, by
-themselves, and groups the remainder, unlike Wedmore, by a subject
-arrangement, in various classes. By his more scientific description of
-states Delteil has superseded Wedmore, and is now invariably quoted in
-sale catalogues. How far even his catalogue is from being exhaustive is
-proved by the numerous additional states, chiefly based on the
-examination of the British Museum and Macgeorge collections, which Mr.
-H. J. L. Wright has described in the July number (1921) of the <i>Print
-Collector’s Quarterly</i>. It is understood that a new edition of Delteil
-is projected, containing a definitive numeration of the states, in which
-these and other corrections will be incorporated. The present list
-attempts no description of states. The titles are given in M. Delteil’s
-order, Wedmore’s numbers following in brackets, with the date of each
-etching and a summary indication of the number of states at present
-known to exist, quoted from Delteil except where the reference “<i>see</i>
-Wright” is given.<span class="pagenum"><a name="page_25" id="page_25">{25}</a></span></p>
-
-<table border="0" cellpadding="1" cellspacing="0" summary="">
-
-<tr><th colspan="2" class="c">I. <span class="smcap">Early Experiments.</span></th></tr>
-
-<tr valign="top"><td class="rt">1</td><td align="left">(78)&mdash;La Sainte Face, after P. de Champaigne. 1849.</td></tr>
-<tr valign="top"><td class="rt">2</td><td align="left">(63)&mdash;La vache et l’ ânon, after P. J. de Loutherbourg. (2 states).<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a></td></tr>
-<tr valign="top"><td class="rt">3</td><td align="left">(67)&mdash;Soldat de profil, after Salvator Rosa. 1849 (2 states).</td></tr>
-<tr valign="top"><td class="rt">4</td><td align="left">(67a)&mdash;Soldat de face, after Salvator Rosa. 1849.</td></tr>
-<tr valign="top"><td class="rt">5</td><td align="left">(64)&mdash;Le mouton et les mouches, after K. du Jardin. 1849 (2 states).</td></tr>
-<tr valign="top"><td class="rt">6</td><td align="left">(65)&mdash;Les trois cochons couchés devant l’étable, after K. du Jardin. 1850 (2 states).</td></tr>
-<tr valign="top"><td class="rt">7</td><td align="left">(66)&mdash;Les deux chevaux, after K. du Jardin. 1850.</td></tr>
-<tr valign="top"><td class="rt">8</td><td align="left">(62)&mdash;La brebis et les deux agneaux, after A. van de Velde. 1850? (2 states).</td></tr>
-<tr valign="top"><td class="rt">9</td><td align="left">(68)&mdash;Le Pavillon de Mademoiselle et une partie du Louvre, after R. Zeeman. 1849 (3 states).</td></tr>
-<tr valign="top"><td class="rt">10</td><td align="left">(69)&mdash;Entrée du Faubourg Saint-Marceau, à Paris, after R. Zeeman. 1850 (2 states).</td></tr>
-<tr valign="top"><td class="rt">11</td><td align="left">(70)&mdash;Un moulin à eau près de Saint Denis, after R. Zeeman. 1850 (2 states).</td></tr>
-<tr valign="top"><td class="rt">12</td><td align="left">(71)&mdash;La rivière de Seine et l’angle du Mail, à Paris, after R. Zeeman. 1850 (2 states).</td></tr>
-<tr valign="top"><td class="rt">13</td><td align="left">(72)&mdash;Galiot de Jean de Vyl de Rotterdam, after R. Zeeman. 1850 (3 states).</td></tr>
-<tr valign="top"><td class="rt">14</td><td align="left">(73)&mdash;Bateaux de Harlem à Amsterdam, after R. Zeeman. 1850 (4 states).</td></tr>
-<tr valign="top"><td class="rt">15</td><td align="left">(75)&mdash;Pêcheurs de la Mer du Sud, after R. Zeeman. 1850 (2 states).</td></tr>
-<tr valign="top"><td class="rt">16</td><td align="left">(74)&mdash;Passagers de Calais à Flessingue, after R. Zeeman. 1850 (2 states).</td></tr>
-
-<tr><th colspan="2" class="c">II. <span class="smcap">Views of Paris.</span></th></tr>
-
-<tr valign="top"><td class="rt">17</td><td align="left">(1)&mdash;Titre des “Eaux-fortes sur Paris.” 1852.</td></tr>
-<tr valign="top"><td class="rt">18</td><td align="left">(2)&mdash;Dédicace à Reynier Nooms, dit Zeeman. 1854.</td></tr>
-<tr valign="top"><td class="rt">19</td><td align="left">(3)&mdash;Ancienne porte du Palais de Justice. 1854 (3 states).</td></tr>
-<tr valign="top"><td class="rt">20</td><td align="left">(4)&mdash;Qu’âme pure gémisse. 1854 (2 states).<span class="pagenum"><a name="page_26" id="page_26">{26}</a></span></td></tr>
-<tr valign="top"><td class="rt">21</td><td align="left">(5)&mdash;Armes symboliques delà Ville de Paris. 1854 (3 states)</td></tr>
-<tr valign="top"><td class="rt">22</td><td align="left">(6)&mdash;Fluctuat nec mergitur. 1854.</td></tr>
-<tr valign="top"><td class="rt">23</td><td align="left">(7)&mdash;Le Stryge. 1853 (8 states).</td></tr>
-<tr valign="top"><td class="rt">24</td><td align="left">(8)&mdash;Le Petit Pont. 1850 (7 states&mdash;<i>see</i> Wright).</td></tr>
-<tr valign="top"><td class="rt">25</td><td align="left">(9)&mdash;L’ Arche du Pont Notre-Dame. 1853 (7 states&mdash;<i>see</i> Wright).</td></tr>
-<tr valign="top"><td class="rt">26</td><td align="left">(10)&mdash;La Galerie Notre-Dame. 1853 (5 states).</td></tr>
-<tr valign="top"><td class="rt">27</td><td align="left">(11)&mdash;La rue des Mauvais Garçons. 1854 (3 states).</td></tr>
-<tr valign="top"><td class="rt">28</td><td align="left">(12)&mdash;La Tour de l’ Horloge. 1852 (10 states&mdash;<i>see</i> Wright).</td></tr>
-<tr valign="top"><td class="rt">29</td><td align="left">(13)&mdash;Tourelle de la rue de la Tixéranderie. 1852 (4 states&mdash;<i>see</i> Wright).</td></tr>
-<tr valign="top"><td class="rt">30</td><td align="left">(14)&mdash;Saint-Etienne-du-Mont. 1852 (8 states).</td></tr>
-<tr valign="top"><td class="rt">31</td><td align="left">(15)&mdash;La Pompe Notre-Dame. 1852 (9 states).</td></tr>
-<tr valign="top"><td class="rt">32</td><td align="left">(16)&mdash;La Petite Pompe. 1854. (2 states).</td></tr>
-<tr valign="top"><td class="rt">33</td><td align="left">(17)&mdash;Le Pont-Neuf. 1853 (10 states&mdash;<i>see</i> Wright).</td></tr>
-<tr valign="top"><td class="rt">34</td><td align="left">(18)&mdash;Le Pont-au-Change. 1854 (12 states&mdash;<i>see</i> Wright).</td></tr>
-<tr valign="top"><td class="rt">35</td><td align="left">(19)&mdash;L’ Espérance. 1854 (3 states&mdash;<i>see</i> Wright).</td></tr>
-<tr valign="top"><td class="rt">36</td><td align="left">(20)&mdash;La Morgue. 1854 (7 states).</td></tr>
-<tr valign="top"><td class="rt">37</td><td align="left">(21)&mdash;L’ Hôtellerie de la Mort. 1854.</td></tr>
-<tr valign="top"><td class="rt">38</td><td align="left">(22)&mdash;L’Abside de Notre-Dame de Paris. 1854 (8 states).</td></tr>
-<tr valign="top"><td class="rt">39</td><td align="left">(&mdash;)&mdash;O toi dégustateur. 1854 (2 states).</td></tr>
-<tr valign="top"><td class="rt">40</td><td align="left">(23)&mdash;Tombeau de Molière. 1854 (2 states).</td></tr>
-<tr valign="top"><td class="rt">41</td><td align="left">(24)&mdash;Tourelle de la rue de l’ Ecole-de-Médecine. 1861 (13 states&mdash;<i>see</i> Wright).</td></tr>
-<tr valign="top"><td class="rt">42</td><td align="left">(25)&mdash;Rue des Chantres. 1862 (5 states&mdash;<i>see</i> Wright).</td></tr>
-<tr valign="top"><td class="rt">43</td><td align="left">(58)&mdash;Collège Henri IV. 1864 (11 states&mdash;<i>see</i> Wright).</td></tr>
-<tr valign="top"><td class="rt">44</td><td align="left">(27)&mdash;Bain-froid Chevrier. 1864 (6 states).</td></tr>
-<tr valign="top"><td class="rt">45</td><td align="left">(26)&mdash;Le Ministère de la Marine. 1865 (6 states).</td></tr>
-<tr valign="top"><td class="rt">46</td><td align="left">(29)&mdash;Le Pont-Neuf et la Samaritaine de dessous la 1ʳᵉ arche du Pont-au-Change. 1855 (4 states).</td></tr>
-<tr valign="top"><td class="rt">47</td><td align="left">(28)&mdash;Le Pont-au-Change vers 1784, after Nicolle. 1855 (6 states&mdash;<i>see</i> Wright).</td></tr>
-<tr valign="top"><td class="rt">48</td><td align="left">(76)&mdash;La Salle des Pas-perdus 1855 (4 states).</td></tr>
-<tr valign="top"><td class="rt">49</td><td align="left">(30)&mdash;Rue Pirouette aux Halles. 1860 (6 states).</td></tr>
-<tr valign="top"><td class="rt">50</td><td align="left">(84)&mdash;Passerelle du Pont-au-Change après l’ incendie de 1621. 1860 (8 states&mdash;<i>see</i> Wright).<span class="pagenum"><a name="page_27" id="page_27">{27}</a></span>
-</td></tr>
-
-<tr valign="top"><td class="rt">51</td><td align="left">(31)&mdash;Partie de la Cité vers la fin du <small>XVII</small>ᵉ siècle. 1861 (8 states).</td></tr>
-<tr valign="top"><td class="rt">52</td><td align="left">(85)&mdash;Le Grand Châtelet vers 1780. 1861 (3 states).</td></tr>
-<tr valign="top"><td class="rt">53</td><td align="left">(60)&mdash;L’Ancien Louvre, after R. Zeeman. 1866 (6 states).</td></tr>
-
-<tr><th colspan="2" class="c">III. <span class="smcap">Various Views.</span></th></tr>
-
-<tr valign="top"><td class="rt">54</td><td align="left">(33)&mdash;Porte d’un ancient Couvent, rue Mirebeau, à Bourges. 1851 (3 states&mdash;<i>see</i> Wright).</td></tr>
-<tr valign="top"><td class="rt">55</td><td align="left">(35)&mdash;Rue des Toiles à Bourges. 1853 (8 states&mdash;<i>see</i> Wright).</td></tr>
-<tr valign="top"><td class="rt">56</td><td align="left">(34)&mdash;Ancienne habitation à Bourges. 1860 (5 states).</td></tr>
-<tr valign="top"><td class="rt">57</td><td align="left">(77a)&mdash;Château de Chenonceau (1st plate). 1856.</td></tr>
-<tr valign="top"><td class="rt">58</td><td align="left">(77)&mdash;Château de Chenonceau (2nd plate). 1856 (3 states).</td></tr>
-<tr valign="top"><td class="rt">59</td><td align="left">(81)&mdash;Ruines du Château de Pierrefonds. 1858 (3 states&mdash;<i>see</i> Wright).</td></tr>
-<tr valign="top"><td class="rt">60</td><td align="left">(83)&mdash;Chevet de St.-Martin-sur-Renelle, after P. Langlois. 1860 (3 states).</td></tr>
-<tr valign="top"><td class="rt">61</td><td align="left">(32)&mdash;Entrée du Couvent des Capucins, à Athènes. 1854 (3 states).</td></tr>
-<tr valign="top"><td class="rt">62</td><td align="left">(79)&mdash;Plan du Combat de Sinope. 1853 (2 states).</td></tr>
-<tr valign="top"><td class="rt">63</td><td align="left">(46)&mdash;Couverture du voyage à la Nouvelle-Zélande. 1866 (8 states&mdash;<i>see</i> Wright).</td></tr>
-<tr valign="top"><td class="rt">64</td><td align="left">(36)&mdash;Le Pilote de Tonga. 1856 (2 states).</td></tr>
-<tr valign="top"><td class="rt">65</td><td align="left">(38)&mdash;Tête de Chien de la Nouvelle-Hollande. 1850 (2 states)</td></tr>
-<tr valign="top"><td class="rt">66</td><td align="left">(37)&mdash;Le Malingre Cryptogame. 1860 (4 states).</td></tr>
-<tr valign="top"><td class="rt">67</td><td align="left">(40)&mdash;Nouvelle-Calédonie. Grande case indigène. 1863 (5 states).</td></tr>
-<tr valign="top"><td class="rt">68</td><td align="left">(41)&mdash;Océanie, pêche aux palmes. 1863 (4 states).</td></tr>
-<tr valign="top"><td class="rt">69</td><td align="left">(42)&mdash;Presqu’ île de Banks. Pointe des Charbonniers, Akaroa. 1863 (7 states&mdash;<i>see</i> Wright).</td></tr>
-<tr valign="top"><td class="rt">70</td><td align="left">(39)&mdash;Greniers indigènes à Akaroa. 1865 (5 states&mdash;<i>see</i> Wright).</td></tr>
-<tr valign="top"><td class="rt">71</td><td align="left">(43)&mdash;Etat de la colonie française d’Akaroa. 1865 (5 states)</td></tr>
-<tr valign="top"><td class="rt">72</td><td align="left">(44)&mdash;La Chaumière du Colon. 1866 (3 states).</td></tr>
-<tr valign="top"><td class="rt">73</td><td align="left">(80)&mdash;San Francisco. 1856 (4 states).</td></tr>
-<tr valign="top"><td class="rt">74</td><td align="left">(45)&mdash;Prô-volant des Iles Mulgrave. 1866 (6 states&mdash;<i>see</i> Wright).</td></tr>
-
-<tr><th colspan="2" class="c">IV. <span class="smcap">Portraits.</span></th></tr>
-
-<tr valign="top"><td class="rt">74a</td><td align="left">(&mdash;)&mdash;Meryon assis devant son chevalet. 1849? (no proof exists).</td></tr>
-<tr valign="top"><td class="rt">75</td><td align="left">(&mdash;)&mdash;Eugène Bléry. 1849? (no proof known to exist).</td></tr>
-<tr valign="top"><td class="rt">76</td><td align="left">(&mdash;)&mdash;Edmond de Courtives. 1849?</td></tr>
-<tr valign="top"><td class="rt">77</td><td align="left">(86)&mdash;Casimir Le Conte. 1856(2 states).</td></tr>
-<tr valign="top"><td class="rt">78</td><td align="left">(87)&mdash;Evariste Boulay-Paty, after David d’Angers. 1861 (3 states).</td></tr>
-<tr valign="top"><td class="rt">79</td><td align="left">(88)&mdash;François Viète. 1861 (11 states&mdash;<i>see</i> Wright).</td></tr>
-<tr valign="top"><td class="rt">80</td><td align="left">(92)&mdash;René de Burdigale, after C. de Passe. 1861 (5 states&mdash;<i>see</i> Wright).</td></tr>
-<tr valign="top"><td class="rt">81</td><td align="left">(89)&mdash;Pierre Nivelle, after M. Lasne. 1861 (6 states).</td></tr>
-<tr valign="top"><td class="rt">82</td><td align="left">(91)&mdash;Jean Besly, after Jaspar Isac. 1861 (4 states).</td></tr>
-<tr valign="top"><td class="rt">83</td><td align="left">(93)&mdash;L. J.-Marie Bizeul. 1861 (5 states).</td></tr>
-<tr valign="top"><td class="rt">84</td><td align="left">(90)&mdash;Th. Agrippa d’ Aubigné, after J. Hébert. 1862 (4 states).</td></tr>
-<tr valign="top"><td class="rt">85</td><td align="left">(94)&mdash;Benjamin Fillon. 1862 (5 states).</td></tr>
-<tr valign="top"><td class="rt">86</td><td align="left">(95)&mdash;Armand Guéraud. 1862 (3 states&mdash;<i>see</i> Wright).</td></tr>
-
-<tr><th colspan="2" class="c">V. <span class="smcap">Frontispieces, Addresses, Rebuses, Miscellaneous Subjects.</span></th></tr>
-
-<tr valign="top"><td class="rt">87</td><td align="left">(47)&mdash;Adresse de Rochoux. 1856? (5 states&mdash;<i>see</i> Wright).</td></tr>
-<tr valign="top"><td class="rt">88</td><td align="left">(48a)&mdash;Vers à Eugène Bléry (small plate). 1854.</td></tr>
-<tr valign="top"><td class="rt">89</td><td align="left">(48)&mdash;Vers à Eugène Bléry (large plate). 1854 (2 states&mdash;<i>see</i> Wright).</td></tr>
-<tr valign="top"><td class="rt">90</td><td align="left">(&mdash;)&mdash;L’Attelage.</td></tr>
-<tr valign="top"><td class="rt">91</td><td align="left">(49)&mdash;La loi lunaire, 1st plate. 1856 (3 states&mdash;<i>see</i> Wright).</td></tr>
-<tr valign="top"><td class="rt">92</td><td align="left">(50)&mdash;La loi lunaire, 2nd plate. 1866 (6 states&mdash;<i>see</i> Wright).</td></tr>
-<tr valign="top"><td class="rt">93</td><td align="left">(51)&mdash;La loi solaire. 1855.</td></tr>
-<tr valign="top"><td class="rt">94</td><td align="left">(82)&mdash;Présentation du Valère Maxime au roi Louis XI. 1860 (6 states&mdash;<i>see</i> Wright).</td></tr>
-<tr valign="top"><td class="rt">95</td><td align="left">(54)&mdash;Projet d’encadrement pour le portrait d’Armand Guéraud. 1862 (10 states&mdash;<i>see</i> Wright; there is another, following Delteil’s 6th, still undescribed)</td></tr>
-<tr valign="top"><td class="rt">96</td><td align="left">(61)&mdash;Frontispice pour le catalogue de Th. de Leu. 1866.</td></tr>
-<tr valign="top"><td class="rt">97,&nbsp;98</td><td align="left">(52, 53)&mdash;Projets de billets d’action (2 states&mdash;<i>see</i> Wright).</td></tr>
-<tr valign="top"><td class="rt">99</td><td align="left">(59)&mdash;Petit Prince Dito. 1864 (3 states&mdash;<i>see</i> Wright).</td></tr>
-<tr valign="top"><td class="rt">100</td><td align="left">(55)&mdash;Rébus: La Vendetta. 1863 (2 states).</td></tr>
-<tr valign="top"><td class="rt">101</td><td align="left">(57)&mdash;Rébus: Béranger. 1863 (4 states&mdash;<i>see</i> Wright).</td></tr>
-<tr valign="top"><td class="rt">102</td><td align="left">(56)&mdash;Rébus: Morny. 1866 (3 states).</td></tr>
-</table>
-
-<div class="figcenter" id="plt_001" style="width: 384px;">
-<a href="images/plt_1.jpg">
-<img src="images/plt_1.jpg" width="384" height="571" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 1. CHARLES MERYON. BY FÉLIX BRACQUEMOND. 9 × 5<sup>7</sup>/<sub>8</sub> in.</p>
-
-<p>(<i>From a proof in the possession of Campbell Dodgson,
-Esq., M.A., C.B.E.</i>).</p></div>
-</div>
-
-<div class="figcenter" id="plt_002" style="width: 413px;">
-<a href="images/plt_2.jpg">
-<img src="images/plt_2.jpg" width="413" height="525" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 2. TITRE DES EAUX-FORTES SUR PARIS. (D.17.) 6&frac12; ×
-4<sup>15</sup>/<sub>16</sub> in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_003" style="width: 238px;">
-<a href="images/plt_3.jpg">
-<img src="images/plt_3.jpg" width="238" height="561" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 3. DÉDICACE À REYNIER NOOMS, DIT ZEEMAN. (D.18.)
-6<sup>15</sup>/<sub>16</sub> × 2&frac34; in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_004" style="width: 290px;">
-<a href="images/plt_4.jpg">
-<img src="images/plt_4.jpg" width="290" height="311" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 4. ANCIENNE PORTE DU PALAIS DE JUSTICE. (D.19).
-THIRD STATE. 3<sup>7</sup>/<sub>16</sub> × 3<sup>3</sup>/<sub>8</sub> in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_005" style="width: 378px;">
-<a href="images/plt_5.jpg">
-<img src="images/plt_5.jpg" width="378" height="464" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 5. ARMES SYMBOLIQUES DE LA VILLE DE PARIS. (D.21.)
-THIRD STATE. 5<sup>3</sup>/<sub>8</sub> × 4<sup>3</sup>/<sub>8</sub> in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_006" style="width: 402px;">
-<a href="images/plt_6.jpg">
-<img src="images/plt_6.jpg" width="402" height="523" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 6. LE STRYGE. (D.23.) EIGHTH STATE. 6&frac34; × 5⅛
-in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_007" style="width: 452px;">
-<a href="images/plt_7.jpg">
-<img src="images/plt_7.jpg" width="452" height="593" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 7. LE PETIT PONT. (D.24.) FIFTH STATE. 10&frac14; ×
-7&frac12; in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_008" style="width: 505px;">
-<a href="images/plt_8.jpg">
-<img src="images/plt_8.jpg" width="505" height="402" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 8. L’ARCHE DU PONT NOTRE-DAME. (D.25.) THIRD STATE.
-6 × 7&frac34; in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_009" style="width: 362px;">
-<a href="images/plt_9.jpg">
-<img src="images/plt_9.jpg" width="362" height="593" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 9. LA GALERIE NOTRE-DAME. (D.26.) THIRD STATE.
-11⅛ × 6<sup>15</sup>/<sub>16</sub> in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_010" style="width: 315px;">
-<a href="images/plt_10.jpg">
-<img src="images/plt_10.jpg" width="315" height="400" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 10. LA RUE DES MAUVAIS GARÇONS (D.27.) THIRD STATE.
-5 × 3<sup>7</sup>/<sub>8</sub> in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_011" style="width: 424px;">
-<a href="images/plt_11.jpg">
-<img src="images/plt_11.jpg" width="424" height="567" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 11. LA TOUR DE L’HORLOGE. (D.28.) THIRD STATE.
-10<sup>5</sup>/<sub>16</sub> × 7&frac14; in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_012" style="width: 323px;">
-<a href="images/plt_12.jpg">
-<img src="images/plt_12.jpg" width="323" height="601" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 12. TOURELLE DE LA RUE DE LA TIXÉRANDERIE. (D.29.)
-SECOND STATE. 9&frac34; × 5<sup>3</sup>/<sub>16</sub> in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_013" style="width: 322px;">
-<a href="images/plt_13.jpg">
-<img src="images/plt_13.jpg" width="322" height="589" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 13. SAINT-ÉTIENNE-DU-MONT. (D.30.) FIFTH STATE.
-9&frac34; × 5⅛ in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_014" style="width: 596px;">
-<a href="images/plt_14.jpg">
-<img src="images/plt_14.jpg" width="596" height="400" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 14. LA POMPE NOTRE-DAME. (D.31.) NINTH STATE. 6&frac34;
-× 9<sup>7</sup>/<sub>8</sub> in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_015" style="width: 278px;">
-<a href="images/plt_15.jpg">
-<img src="images/plt_15.jpg" width="278" height="367" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 15. LA PETITE POMPE. (D.32.) SECOND STATE. 4&frac14; x
-3&frac14; in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_016" style="width: 450px;">
-<a href="images/plt_16.jpg">
-<img src="images/plt_16.jpg" width="450" height="458" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 16. LE PONT-NEUF. (D.33.) EIGHTH STATE. 7<sup>3</sup>/<sub>16</sub> ×
-7&frac14; in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_017" style="width: 621px;">
-<a href="images/plt_17.jpg">
-<img src="images/plt_17.jpg" width="621" height="302" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 17. LE PONT-AU-CHANGE. (D.84.) SECOND STATE. 6⅛
-× 13<sup>1</sup>/<sub>16</sub> in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_018" style="width: 587px;">
-<a href="images/plt_18.jpg">
-<img src="images/plt_18.jpg" width="587" height="275" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 18. LE PONT-AU-CHANGE. (D.34.) NINTH STATE. 6&frac14; ×
-13<sup>1</sup>/<sub>16</sub> in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_019" style="width: 384px;">
-<a href="images/plt_19.jpg">
-<img src="images/plt_19.jpg" width="384" height="202" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 19. L’ESPÉRANCE. (D.35.) (VERS DESTINÉS À
-ACCOMPAGNER LE PONT-AU-CHANGE.) 2&frac12; × 5in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_020" style="width: 433px;">
-<a href="images/plt_20.jpg">
-<img src="images/plt_20.jpg" width="433" height="481" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 20. LA MORGUE. (D. 36.) THIRD STATE. 9⅛ × 8⅛
-in.</p></div>
-</div>
-
-
-<div class="figcenter" id="plt_021" style="width: 298px;">
-<a href="images/plt_21.jpg">
-<img src="images/plt_21.jpg" width="298" height="414" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 21. L’HÔTELLERIE DE LA MORT. (D.37.) TWO PLATES
-EACH 4&frac34; × 1<sup>3</sup>/<sub>8</sub> in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_022" style="width: 583px;">
-<a href="images/plt_22.jpg">
-<img src="images/plt_22.jpg" width="583" height="318" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 22. L’ABSIDE DE NOTRE-DAME DE PARIS. (D.38.) FOURTH
-STATE. 6&frac12; × 11&frac34; in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_023" style="width: 234px;">
-<a href="images/plt_23.jpg">
-<img src="images/plt_23.jpg" width="234" height="239" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 23. TOMBEAU DE MOLIÈRE. (D.40.) SECOND STATE. 2<sup>5</sup>/<sub>8</sub>
-× 2&frac34; in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_024" style="width: 502px;">
-<a href="images/plt_24.jpg">
-<img src="images/plt_24.jpg" width="502" height="375" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 24. CHARLES MERYON, 1858. BY LÉOPOLD FLAMENG. 8&frac34;
-× 10&frac34; in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_025" style="width: 385px;">
-<a href="images/plt_25.jpg">
-<img src="images/plt_25.jpg" width="385" height="619" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 25. TOURELLE DE LA RUE DE L’ÉCOLE-DE-MÉDECINE.
-(D.41.) SIXTH STATE. 8<sup>3</sup>/<sub>8</sub> × 5<sup>3</sup>/<sub>16</sub> in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_026" style="width: 348px;">
-<a href="images/plt_26.jpg">
-<img src="images/plt_26.jpg" width="348" height="568" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 26. TOURELLE DE LA RUE DE L’ÉCOLE-DE-MÉDECINE.
-(D.41) NINTH STATE. 8<sup>3</sup>/<sub>8</sub> × 5<sup>3</sup>/<sub>16</sub> in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_027" style="width: 253px;">
-<a href="images/plt_27.jpg">
-<img src="images/plt_27.jpg" width="253" height="578" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 27. RUE DES CHANTRES. (D.42.) FIRST STATE. 11&frac34; ×
-5<sup>7</sup>/<sub>8</sub> in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_028" style="width: 288px;">
-<a href="images/plt_28.jpg">
-<img src="images/plt_28.jpg" width="288" height="608" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 28. RUE DES CHANTRES. (D.42.) FOURTH STATE. 11&frac34;
-× 5<sup>7</sup>/<sub>8</sub> in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_029" style="width: 612px;">
-<a href="images/plt_29.jpg">
-<img src="images/plt_29.jpg" width="612" height="321" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 29. COLLÈGE HENRI IV. (D.48.) SIXTH STATE. 11<sup>5</sup>/<sub>8</sub> ×
-18<sup>7</sup>/<sub>8</sub> in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_030" style="width: 419px;">
-<a href="images/plt_30.jpg">
-<img src="images/plt_30.jpg" width="419" height="374" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 30. BAIN-FROID CHEVRIER. (D. 44.) FOURTH STATE.
-5⅛ × 5<sup>5</sup>/<sub>8</sub> in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_031" style="width: 406px;">
-<a href="images/plt_31.jpg">
-<img src="images/plt_31.jpg" width="406" height="439" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 31. LE MINISTÈRE DE LA MARINE. (D. 45.) FIRST
-STATE. 6<sup>5</sup>/<sub>8</sub> × 5&frac34; in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_032" style="width: 426px;">
-<a href="images/plt_32.jpg">
-<img src="images/plt_32.jpg" width="426" height="465" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 32. LE MINISTÈRE DE LA MARINE. (D. 45.) FIFTH
-STATE. 6<sup>5</sup>/<sub>8</sub> × 5&frac34; in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_033" style="width: 560px;">
-<a href="images/plt_33.jpg">
-<img src="images/plt_33.jpg" width="560" height="403" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 33. LE PONT-NEUF ET LA SAMARITAINE (D. 46.) THIRD
-STATE. 5<sup>11</sup>/<sub>16</sub> × 8 in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_034" style="width: 601px;">
-<a href="images/plt_34.jpg">
-<img src="images/plt_34.jpg" width="601" height="339" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 34. LE PONT-AU-CHANGE VERS 1784, D’APRÈS NICOLLE.
-(D. 47.) THIRD STATE. 5<sup>5</sup>/<sub>16</sub> × 9<sup>3</sup>/<sub>8</sub> in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_035" style="width: 613px;">
-<a href="images/plt_35.jpg">
-<img src="images/plt_35.jpg" width="613" height="386" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 36. LA SALLE DES PAS-PERDUS À L’ANCIEN
-PALAIS-DE-JUSTICE. (D. 48.) FOURTH STATE. 10<sup>5</sup>/<sub>8</sub> × 17⅛ in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_036" style="width: 329px;">
-<a href="images/plt_36.jpg">
-<img src="images/plt_36.jpg" width="329" height="432" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 36. RUE PIROUETTE AUX HALLES. (D. 49.) THIRD STATE.
-6⅛ × 4<sup>9</sup>/<sub>16</sub> in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_037" style="width: 594px;">
-<a href="images/plt_37.jpg">
-<img src="images/plt_37.jpg" width="594" height="285" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 37. PARTIE DE LA CITÉ VERS LA FIN DU XVIIe SIÈCLE.
-(D. 51.) SEVENTH STATE. 6 × 12<sup>5</sup>/<sub>8</sub> in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_038" style="width: 575px;">
-<a href="images/plt_38.jpg">
-<img src="images/plt_38.jpg" width="575" height="331" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 38. L’ANCIEN LOUVRE, D’APRÈS UNE PEINTURE DE
-ZEEMAN. (D. 53.) FIFTH STATE. 6<sup>5</sup>/<sub>8</sub> × 10&frac12; in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_039" style="width: 402px;">
-<a href="images/plt_39.jpg">
-<img src="images/plt_39.jpg" width="402" height="587" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 39. PORTE D’UN ANCIEN COUVENT À BOURGES. (D. 54.)
-SECOND STATE. 6<sup>5</sup>/<sub>8</sub> x 4&frac34; in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_040" style="width: 341px;">
-<a href="images/plt_40.jpg">
-<img src="images/plt_40.jpg" width="341" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 40. RUE DES TOILES À BOURGES. (D. 55.) FIFTH STATE.
-8&frac12; × 4&frac34; in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_041" style="width: 356px;">
-<a href="images/plt_41.jpg">
-<img src="images/plt_41.jpg" width="356" height="612" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 41. ANCIENNE HABITATION À BOURGES. (D. 56.)
-FOURTH STATE. 9<sup>5</sup>/<sub>8</sub> x 5<sup>7</sup>/<sub>16</sub> in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_042" style="width: 358px;">
-<a href="images/plt_42.jpg">
-<img src="images/plt_42.jpg" width="358" height="582" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 42. ENTRÉE DU COUVENT DES CAPUCINS À ATHÈNES. (D.
-61.) THIRD STATE. 7<sup>5</sup>/<sub>8</sub> × 5 in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_043" style="width: 579px;">
-<a href="images/plt_43.jpg">
-<img src="images/plt_43.jpg" width="579" height="303" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 43. NOUVELLE-CALÉDONIE. GRANDE CASE INDIGÈNE SUR LE
-CHEMIN DE BALLADE À POEPO. (D. 67.) FOURTH STATE. 5<sup>5</sup>/<sub>8</sub> × 9&frac34; in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_044" style="width: 533px;">
-<a href="images/plt_44.jpg">
-<img src="images/plt_44.jpg" width="533" height="228" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 44. OCÉANIE, PECHE AUX PALMES. (D. 68.) FOURTH
-STATE. 6&frac14; × 13&frac14; in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_045" style="width: 216px;">
-<a href="images/plt_45.jpg">
-<img src="images/plt_45.jpg" width="216" height="237" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 45. LA CHAUMIÈRE DU COLON. (D. 72.) THIRD STATE.
-3⅛ × 3 in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_046" style="width: 230px;">
-<a href="images/plt_46.jpg">
-<img src="images/plt_46.jpg" width="230" height="324" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 46. PRÔ-VOLANT DES ÎLES MULGRAVE. (D. 74.) FIFTH
-STATE. 5&frac34; × 3⅛ in.</p></div>
-</div>
-
-<div class="figcenter" id="plt_047" style="width: 328px;">
-<a href="images/plt_47.jpg">
-<img src="images/plt_47.jpg" width="328" height="380" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PLATE 47. L. J.-MARIE BIZEUL. (D.83.) FOURTH STATE 6&frac12;
-× 4<sup>5</sup>/<sub>8</sub> in.</p></div>
-</div>
-
-<div class="footnotes"><p class="cb">FOOTNOTES:</p>
-
-<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> In each case the dimensions given are those of the original
-plate, and not of the subject or engraved surface.</p></div>
-
-<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> A list of the contents of the set, “Eaux-Fortes sur Paris,”
-may be found useful; it is as follows:&mdash;
-</p><p class="c">
-<small>A.</small> Meryon’s portrait by Bracquemond.
-</p>
-
-<table border="0" cellpadding="2" cellspacing="0" summary="deprecated">
-<tr><td class="rt">1.</td><td align="left">The title.</td></tr>
-<tr><td class="rt">2.</td><td align="left">Dedication to R. Zeeman.</td></tr>
-<tr><td class="rt">3.</td><td align="left">Porte du Palais de Justice (frontispiece).</td></tr>
-<tr><td class="rt">4.</td><td align="left">Verses, “Qu’âme pure gémisse.”</td></tr>
-<tr><td class="rt">5.</td><td align="left">Arms of the City of Paris.</td></tr>
-<tr><td class="rt">6.</td><td align="left">Le Stryge (numbered 1).</td></tr>
-<tr><td class="rt">7.</td><td align="left">Le Petit Pont (numbered 2).</td></tr>
-<tr><td class="rt">8.</td><td align="left">L’Arche du Pont Notre-Dame (numbered 3).</td></tr>
-<tr><td class="rt">9.</td><td align="left">La Galerie Notre-Dame (numbered 4).</td></tr>
-<tr><td class="rt">10.</td><td align="left">La Rue des Mauvais Garçons.</td></tr>
-<tr><td class="rt">11.</td><td align="left">La Tour de l’Horloge (numbered 5).</td></tr>
-<tr><td class="rt">12.</td><td align="left">Tourelle de la rue de la Tixéranderie (numbered 6).</td></tr>
-<tr><td class="rt">13.</td><td align="left">St. Etienne-du-Mont (numbered 7).</td></tr>
-<tr><td class="rt">14.</td><td align="left">La Pompe Notre-Dame (numbered 8).</td></tr>
-<tr><td class="rt">15.</td><td align="left">La Petite Pompe.</td></tr>
-<tr><td class="rt">16.</td><td align="left">Le Pont-Neuf (numbered 9).</td></tr>
-<tr><td class="rt">17.</td><td align="left">Le Pont-au-Change (numbered 10).</td></tr>
-<tr><td class="rt">18.</td><td align="left">Verses, “L’Espérance.”</td></tr>
-<tr><td class="rt">19.</td><td align="left">La Morgue (numbered 11).</td></tr>
-<tr><td class="rt">20.</td><td align="left">Verses, “L’Hôtellerie de la Mort.”</td></tr>
-<tr><td class="rt">21.</td><td align="left">L’Abside de Notre-Dame (numbered 12).</td></tr>
-<tr><td class="rt">22.</td><td align="left">Tombeau de Molière.</td></tr>
-</table>
-
-</div>
-
-<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> This portrait is extremely rare, as only ten impressions
-were taken; it has been reproduced by heliogravure. The impression
-reproduced in this book is in the collection of the author.</p></div>
-
-<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> When states are not mentioned it is to be understood that
-there is only one state.</p></div>
-
-</div>
-<hr class="full" />
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