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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..ddcc75b --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #66036 (https://www.gutenberg.org/ebooks/66036) diff --git a/old/66036-0.txt b/old/66036-0.txt deleted file mode 100644 index d89f765..0000000 --- a/old/66036-0.txt +++ /dev/null @@ -1,1710 +0,0 @@ -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 *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. 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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 <a href="https://www.gutenberg.org">www.gutenberg.org</a>. 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. -</div> - -<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> - -<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Editor: Charles Geoffre Holme</div> - -<div style='display:block; margin:1em 0'>Release Date: August 11, 2021 [eBook #66036]</div> - -<div style='display:block; margin:1em 0'>Language: English</div> - -<div style='display:block; margin:1em 0'>Character set encoding: UTF-8</div> - -<div style='display:block; margin-left:2em; text-indent:-2em'>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)</div> - -<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> </p> - -<p><span class="pagenum"><a name="page_ii" id="page_ii">{ii}</a></span> </p> - -<p><span class="pagenum"><a name="page_iii" id="page_iii">{iii}</a></span> </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 & 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), 6½ × 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> × 2¾ 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, 6¾ × 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, 10¼ × 7½ 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 × 7¾ 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> × 7¼ 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, 9¾ × 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 9¾ × 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, 6¾ × 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, 4¼ × 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> × 7¼ 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), 2½ × 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 4¾ × 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, 6½ × 11¾ 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> × 2¾ 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, 8¾ × 10¾ 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, 11¾ × 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, 11¾ × 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> × 5¾ 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> × 5¾ 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> × 10½ 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, 8½ × 4¾ 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> × 9¾ 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, 6¼ × 13¼ 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, 5¾ × 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, 6½ × 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>—<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 & 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 <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:—</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:—</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—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 <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 </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,—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—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—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)—La Sainte Face, after P. de Champaigne. 1849.</td></tr> -<tr valign="top"><td class="rt">2</td><td align="left">(63)—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)—Soldat de profil, after Salvator Rosa. 1849 (2 states).</td></tr> -<tr valign="top"><td class="rt">4</td><td align="left">(67a)—Soldat de face, after Salvator Rosa. 1849.</td></tr> -<tr valign="top"><td class="rt">5</td><td align="left">(64)—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)—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)—Les deux chevaux, after K. du Jardin. 1850.</td></tr> -<tr valign="top"><td class="rt">8</td><td align="left">(62)—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)—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)—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)—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)—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)—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)—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)—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)—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)—Titre des “Eaux-fortes sur Paris.” 1852.</td></tr> -<tr valign="top"><td class="rt">18</td><td align="left">(2)—Dédicace à Reynier Nooms, dit Zeeman. 1854.</td></tr> -<tr valign="top"><td class="rt">19</td><td align="left">(3)—Ancienne porte du Palais de Justice. 1854 (3 states).</td></tr> -<tr valign="top"><td class="rt">20</td><td align="left">(4)—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)—Armes symboliques delà Ville de Paris. 1854 (3 states)</td></tr> -<tr valign="top"><td class="rt">22</td><td align="left">(6)—Fluctuat nec mergitur. 1854.</td></tr> -<tr valign="top"><td class="rt">23</td><td align="left">(7)—Le Stryge. 1853 (8 states).</td></tr> -<tr valign="top"><td class="rt">24</td><td align="left">(8)—Le Petit Pont. 1850 (7 states—<i>see</i> Wright).</td></tr> -<tr valign="top"><td class="rt">25</td><td align="left">(9)—L’ Arche du Pont Notre-Dame. 1853 (7 states—<i>see</i> Wright).</td></tr> -<tr valign="top"><td class="rt">26</td><td align="left">(10)—La Galerie Notre-Dame. 1853 (5 states).</td></tr> -<tr valign="top"><td class="rt">27</td><td align="left">(11)—La rue des Mauvais Garçons. 1854 (3 states).</td></tr> -<tr valign="top"><td class="rt">28</td><td align="left">(12)—La Tour de l’ Horloge. 1852 (10 states—<i>see</i> Wright).</td></tr> -<tr valign="top"><td class="rt">29</td><td align="left">(13)—Tourelle de la rue de la Tixéranderie. 1852 (4 states—<i>see</i> Wright).</td></tr> -<tr valign="top"><td class="rt">30</td><td align="left">(14)—Saint-Etienne-du-Mont. 1852 (8 states).</td></tr> -<tr valign="top"><td class="rt">31</td><td align="left">(15)—La Pompe Notre-Dame. 1852 (9 states).</td></tr> -<tr valign="top"><td class="rt">32</td><td align="left">(16)—La Petite Pompe. 1854. (2 states).</td></tr> -<tr valign="top"><td class="rt">33</td><td align="left">(17)—Le Pont-Neuf. 1853 (10 states—<i>see</i> Wright).</td></tr> -<tr valign="top"><td class="rt">34</td><td align="left">(18)—Le Pont-au-Change. 1854 (12 states—<i>see</i> Wright).</td></tr> -<tr valign="top"><td class="rt">35</td><td align="left">(19)—L’ Espérance. 1854 (3 states—<i>see</i> Wright).</td></tr> -<tr valign="top"><td class="rt">36</td><td align="left">(20)—La Morgue. 1854 (7 states).</td></tr> -<tr valign="top"><td class="rt">37</td><td align="left">(21)—L’ Hôtellerie de la Mort. 1854.</td></tr> -<tr valign="top"><td class="rt">38</td><td align="left">(22)—L’Abside de Notre-Dame de Paris. 1854 (8 states).</td></tr> -<tr valign="top"><td class="rt">39</td><td align="left">(—)—O toi dégustateur. 1854 (2 states).</td></tr> -<tr valign="top"><td class="rt">40</td><td align="left">(23)—Tombeau de Molière. 1854 (2 states).</td></tr> -<tr valign="top"><td class="rt">41</td><td align="left">(24)—Tourelle de la rue de l’ Ecole-de-Médecine. 1861 (13 states—<i>see</i> Wright).</td></tr> -<tr valign="top"><td class="rt">42</td><td align="left">(25)—Rue des Chantres. 1862 (5 states—<i>see</i> Wright).</td></tr> -<tr valign="top"><td class="rt">43</td><td align="left">(58)—Collège Henri IV. 1864 (11 states—<i>see</i> Wright).</td></tr> -<tr valign="top"><td class="rt">44</td><td align="left">(27)—Bain-froid Chevrier. 1864 (6 states).</td></tr> -<tr valign="top"><td class="rt">45</td><td align="left">(26)—Le Ministère de la Marine. 1865 (6 states).</td></tr> -<tr valign="top"><td class="rt">46</td><td align="left">(29)—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)—Le Pont-au-Change vers 1784, after Nicolle. 1855 (6 states—<i>see</i> Wright).</td></tr> -<tr valign="top"><td class="rt">48</td><td align="left">(76)—La Salle des Pas-perdus 1855 (4 states).</td></tr> -<tr valign="top"><td class="rt">49</td><td align="left">(30)—Rue Pirouette aux Halles. 1860 (6 states).</td></tr> -<tr valign="top"><td class="rt">50</td><td align="left">(84)—Passerelle du Pont-au-Change après l’ incendie de 1621. 1860 (8 states—<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)—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)—Le Grand Châtelet vers 1780. 1861 (3 states).</td></tr> -<tr valign="top"><td class="rt">53</td><td align="left">(60)—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)—Porte d’un ancient Couvent, rue Mirebeau, à Bourges. 1851 (3 states—<i>see</i> Wright).</td></tr> -<tr valign="top"><td class="rt">55</td><td align="left">(35)—Rue des Toiles à Bourges. 1853 (8 states—<i>see</i> Wright).</td></tr> -<tr valign="top"><td class="rt">56</td><td align="left">(34)—Ancienne habitation à Bourges. 1860 (5 states).</td></tr> -<tr valign="top"><td class="rt">57</td><td align="left">(77a)—Château de Chenonceau (1st plate). 1856.</td></tr> -<tr valign="top"><td class="rt">58</td><td align="left">(77)—Château de Chenonceau (2nd plate). 1856 (3 states).</td></tr> -<tr valign="top"><td class="rt">59</td><td align="left">(81)—Ruines du Château de Pierrefonds. 1858 (3 states—<i>see</i> Wright).</td></tr> -<tr valign="top"><td class="rt">60</td><td align="left">(83)—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)—Entrée du Couvent des Capucins, à Athènes. 1854 (3 states).</td></tr> -<tr valign="top"><td class="rt">62</td><td align="left">(79)—Plan du Combat de Sinope. 1853 (2 states).</td></tr> -<tr valign="top"><td class="rt">63</td><td align="left">(46)—Couverture du voyage à la Nouvelle-Zélande. 1866 (8 states—<i>see</i> Wright).</td></tr> -<tr valign="top"><td class="rt">64</td><td align="left">(36)—Le Pilote de Tonga. 1856 (2 states).</td></tr> -<tr valign="top"><td class="rt">65</td><td align="left">(38)—Tête de Chien de la Nouvelle-Hollande. 1850 (2 states)</td></tr> -<tr valign="top"><td class="rt">66</td><td align="left">(37)—Le Malingre Cryptogame. 1860 (4 states).</td></tr> -<tr valign="top"><td class="rt">67</td><td align="left">(40)—Nouvelle-Calédonie. Grande case indigène. 1863 (5 states).</td></tr> -<tr valign="top"><td class="rt">68</td><td align="left">(41)—Océanie, pêche aux palmes. 1863 (4 states).</td></tr> -<tr valign="top"><td class="rt">69</td><td align="left">(42)—Presqu’ île de Banks. Pointe des Charbonniers, Akaroa. 1863 (7 states—<i>see</i> Wright).</td></tr> -<tr valign="top"><td class="rt">70</td><td align="left">(39)—Greniers indigènes à Akaroa. 1865 (5 states—<i>see</i> Wright).</td></tr> -<tr valign="top"><td class="rt">71</td><td align="left">(43)—Etat de la colonie française d’Akaroa. 1865 (5 states)</td></tr> -<tr valign="top"><td class="rt">72</td><td align="left">(44)—La Chaumière du Colon. 1866 (3 states).</td></tr> -<tr valign="top"><td class="rt">73</td><td align="left">(80)—San Francisco. 1856 (4 states).</td></tr> -<tr valign="top"><td class="rt">74</td><td align="left">(45)—Prô-volant des Iles Mulgrave. 1866 (6 states—<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">(—)—Meryon assis devant son chevalet. 1849? (no proof exists).</td></tr> -<tr valign="top"><td class="rt">75</td><td align="left">(—)—Eugène Bléry. 1849? (no proof known to exist).</td></tr> -<tr valign="top"><td class="rt">76</td><td align="left">(—)—Edmond de Courtives. 1849?</td></tr> -<tr valign="top"><td class="rt">77</td><td align="left">(86)—Casimir Le Conte. 1856(2 states).</td></tr> -<tr valign="top"><td class="rt">78</td><td align="left">(87)—Evariste Boulay-Paty, after David d’Angers. 1861 (3 states).</td></tr> -<tr valign="top"><td class="rt">79</td><td align="left">(88)—François Viète. 1861 (11 states—<i>see</i> Wright).</td></tr> -<tr valign="top"><td class="rt">80</td><td align="left">(92)—René de Burdigale, after C. de Passe. 1861 (5 states—<i>see</i> Wright).</td></tr> -<tr valign="top"><td class="rt">81</td><td align="left">(89)—Pierre Nivelle, after M. Lasne. 1861 (6 states).</td></tr> -<tr valign="top"><td class="rt">82</td><td align="left">(91)—Jean Besly, after Jaspar Isac. 1861 (4 states).</td></tr> -<tr valign="top"><td class="rt">83</td><td align="left">(93)—L. J.-Marie Bizeul. 1861 (5 states).</td></tr> -<tr valign="top"><td class="rt">84</td><td align="left">(90)—Th. Agrippa d’ Aubigné, after J. Hébert. 1862 (4 states).</td></tr> -<tr valign="top"><td class="rt">85</td><td align="left">(94)—Benjamin Fillon. 1862 (5 states).</td></tr> -<tr valign="top"><td class="rt">86</td><td align="left">(95)—Armand Guéraud. 1862 (3 states—<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)—Adresse de Rochoux. 1856? (5 states—<i>see</i> Wright).</td></tr> -<tr valign="top"><td class="rt">88</td><td align="left">(48a)—Vers à Eugène Bléry (small plate). 1854.</td></tr> -<tr valign="top"><td class="rt">89</td><td align="left">(48)—Vers à Eugène Bléry (large plate). 1854 (2 states—<i>see</i> Wright).</td></tr> -<tr valign="top"><td class="rt">90</td><td align="left">(—)—L’Attelage.</td></tr> -<tr valign="top"><td class="rt">91</td><td align="left">(49)—La loi lunaire, 1st plate. 1856 (3 states—<i>see</i> Wright).</td></tr> -<tr valign="top"><td class="rt">92</td><td align="left">(50)—La loi lunaire, 2nd plate. 1866 (6 states—<i>see</i> Wright).</td></tr> -<tr valign="top"><td class="rt">93</td><td align="left">(51)—La loi solaire. 1855.</td></tr> -<tr valign="top"><td class="rt">94</td><td align="left">(82)—Présentation du Valère Maxime au roi Louis XI. 1860 (6 states—<i>see</i> Wright).</td></tr> -<tr valign="top"><td class="rt">95</td><td align="left">(54)—Projet d’encadrement pour le portrait d’Armand Guéraud. 1862 (10 states—<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)—Frontispice pour le catalogue de Th. de Leu. 1866.</td></tr> -<tr valign="top"><td class="rt">97, 98</td><td align="left">(52, 53)—Projets de billets d’action (2 states—<i>see</i> Wright).</td></tr> -<tr valign="top"><td class="rt">99</td><td align="left">(59)—Petit Prince Dito. 1864 (3 states—<i>see</i> Wright).</td></tr> -<tr valign="top"><td class="rt">100</td><td align="left">(55)—Rébus: La Vendetta. 1863 (2 states).</td></tr> -<tr valign="top"><td class="rt">101</td><td align="left">(57)—Rébus: Béranger. 1863 (4 states—<i>see</i> Wright).</td></tr> -<tr valign="top"><td class="rt">102</td><td align="left">(56)—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.) 6½ × -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> × 2¾ 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. 6¾ × 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. 10¼ × -7½ 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 × 7¾ 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> × 7¼ 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. 9¾ × 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. -9¾ × 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. 6¾ -× 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. 4¼ x -3¼ 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> × -7¼ 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. 6¼ × -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.) 2½ × 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 4¾ × 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. 6½ × 11¾ 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> -× 2¾ 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. 8¾ -× 10¾ 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. 11¾ × -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. 11¾ -× 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> × 5¾ 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> × 5¾ 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> × 10½ 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 4¾ 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. -8½ × 4¾ 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> × 9¾ 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. 6¼ × 13¼ 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. 5¾ × 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 6½ -× 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:— -</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" /> -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK THE ETCHINGS OF CHARLES MERYON ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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