,,the ,,etchings ,,of ,,charles ,,meryon ,,the ,,etchings ,,of ,,charles ,,meryon ,,by ,,campbell ,,dodgson1 ,m4,a41 ,c4,b4,e4 ,,keeper ,,of ,,the ,,prints ,,and ,,drawings ,,at ,,the ,,british ,,museum ,,edited ,,by ,,geoffrey ,,holme ,,published ,,by 8,,the ,,studio10 ,,ltd41 ,,london ,,mcmxxi ,printed by ,herbert ,reiach1 ,ltd41 #i ,king ,street1 ,covent ,garden1 ,london4 ,photogravure plates engraved and printed by ,a4 ,alexander ,sons1 ,ltd41 #ae ,westmoreland ,place1 ,city ,road1 ,london4 ,,contents ,,articles ,page ,introduction #a ,early ,life #c ,the ,early ,etchings #f ,the ,etchings of ,paris #h ,other ,etchings of the ',fifties #bj ,the ,late ,etchings #bb ,list of ,meryon's ,etchings #bd ,,list ,,of ,,etchings ,,reproduced4#a ,plate ,charles ,meryon4 ,by ,flix ,bracquemond #i #e-g_/h in4 #a ,titre des ,eaux-fortes sur ,paris 7,d4#ag71 #f-a_/b #d-ae_/af in4 #b ,ddicace ,reynier ,nooms1 dit ,zeeman 7,d4#ah71 #f-ae_/af #b-c_/d in4 #c ,ancienne ,porte du ,palais de ,justice 7,d4#ai71 third state #c-g_/af #c-c_/h in4 #d ,armes ,symboliques de la ,ville de ,paris 7,d4#ba71 third state1 #e-c_/h #d-c_/h in4 #e ,le ,stryge 7,d4#bc71 eighth state1 #f-c_/d #e-a_/h in4 #f ,le ,petit ,pont 7,d4#bd71 fifth state1 #aj-a_/d #g-a_/b in4 #g ,l',arche du ,pont ,notre-,dame 7,d4#be71 third state #f #g-c_/d in4 #h ,la ,galerie ,notre-,dame 7,d4#bf71 third state1 #aa-a_/h #f-ae_/af in4 #i ,la ,rue des ,mauvais ,garons 7,d4#bg71 third state1 #e #c-g_/h in4 #aj ,la ,tour de ,l',horloge 7,d4#bh71 third state1 #aj-e_/af #g-a_/d in4 #aa ,tourelle de la ,rue de la ,tixranderie 7,d4#bi71 second state1 #i-c_/d #e-c_/af in4 #ab ,saint-,etienne-du-,mont 7,d4#cj71 fifth state #i-c_/d #e-a_/h in4 #ac ,la ,pompe ,notre-,dame 7,d4#ca71 ninth state1 #f-c_/d #i-g_/h in4 #ad ,la ,petite ,pompe 7,d4#cb71 second state1 #d-a_/d #c-a_/h in4 #ae ,le ,pont-,neuf 7,d4#cc71 eighth state1 #g-c_/af #g-a_/d in4 #af ,le ,pont-au-,change 7,d4#cd71 second state1 #f-a_/h #ac-a_/af in4 #ag ,le ,pont-au-,change 7,d4#cd71 ninth state1 #f-a_/h #ac-a_/af in4 #ah ,l',esprance 7,d4#ce71 7,vers destins accompagner ,le ,pont-au-,change71 #b-a_/b #e in4 #ai ,la ,morgue 7,d4#cf71 third state1 #i-a_/h #h-a_/h in4 #bj ,l',htellerie de la ,mort 7,d4#cg71 two plates each #d-c_/d #a-c_/h in4 #ba ,l',abside de ,notre-,dame de ,paris 7,d4#ch71 fourth state1 #f-a_/b #aa-c_/d in4 #bb ,tombeau de ,molire 7,d4#dj71 second state1 #b-e_/h #b-c_/d in4 #bc ,charles ,meryon1 #aheh4 ,by ,lopold ,flameng1 #h-c_/d #aj-c_/d in4 #bd ,tourelle de la ,rue de ,l',ecole4-de-,mdecine 7,d4#da71 sixth state1 #h-c_/h #e-c_/af in4 #be ,tourelle de la ,rue de ,l',ecole4-de-,mdecine 7,d4#da71 ninth state1 #h-c_/h #e-c_/af in4 #bf ,rue des ,chantres 7,d4#db71 first state1 #aa-c_/d #e-g_/h in4 #bg ,rue des ,chantres 7,d4#db71 fourth state1 #aa-c_/d #e-g_/h in4 #bh ,collge ,henri ,,iv4 7,d4 #dc71 sixth state1 #aa-e_/h #ah-g_/h in4 #bi ,bain-froid ,chevrier 7,d4#dd71 fourth state1 #e-a_/h #e-e_/h in4 #cj ,le ,ministre de la ,marine 7,d4#de71 first state1 #f-e_/h #e-c_/d in4 #ca ,le ,ministre de la ,marine 7,d4#de71 fifth state1 #f-e_/h #e-c_/d in4 #cb ,le ,pont-,neuf et la ,samaritaine 7,d4#df71 third state1 #e-aa_/af #h in4 #cc ,le ,pont-au-,change vers #aghd1 d'aprs ,nicolle 7,d4 #dg71 third state1 #e-e_/af #i-c_/h in4 #cd ,la ,salle des ,pas-perdus l'ancien ,palais-de-,justice 7,d4#dh71 fourth state1 #aj-e_/h #ag-a_/h in4 #ce ,rue ,pirouette aux ,halles 7,d4#di71 third state1 #f-a_/h #d-i_/af in4 #cf ,partie de la ,cit vers la ,fin du ,,xvii ,sicle 7,d4#ea71 seventh state1 #f #ab-e_/h in4 #cg ,l',ancien ,louvre1 d'aprs une peinture de ,zeeman 7,d4#ec71 fifth state1 #f-c_/h #aj-a_/b in4 #ch ,porte d'un ancien ,couvent ,bourges 7,d4#ed71 second state1 #f-e_/h #d-c_/h in4 #ci ,rue des ,toiles ,bourges 7,d4#ee71 fifth state1 #h-a_/b #d-c_/d in4 #dj ,ancienne ,habitation ,bourges 7,d4#ef71 fourth state1 #i-e_/h #e-g_/af in4 #da ,entre du ,couvent des ,capucins ,athnes 7,d4#fa71 third state1 #g-e_/h #e in4 #db ,nouvelle-,caldonie4 ,grande case indigne sur le ,chemin de ,ballade ,poepo 7,d4#fg71 fourth state1 #e-e_/h #i-c_/d in4 #dc ,ocanie1 ,pche aux ,palmes 7,d4#fh71 fourth state1 #f-a_/d #ac-a_/d in4 #dd ,la ,chaumire du ,colon 7,d4#gb71 third state1 #c-a_/h #c in4 #de ,pr-volant des ,iles ,mulgrave 7,d4#gd71 fifth state1 #e-c_/d #c-a_/h in4 #df ,l4 ,j4-,marie ,bizeul 7,d4#hc71 fourth state1 #f-a_/b #d-e_/h in4 #dg ,,preface ,no modern author could write on ,meryon without acknowledging in the amplest terms1 as ,i do1 his indebtedness to ,m4 ,loys ,delteil's monograph on this great etcher in his ,peintre-,graveur ,illustr 7#aijg74 ,the biography which precedes it1 and the quotations which it gives from ,baudelaire and ,burty1 and from ,meryon's own comments on what ,burty wrote about ,meryon1 make ,m4 ,delteil's volume much more than a catalogue4 ,the other books that ,i have chiefly consulted are ,burty's ,catalogue of ,meryon1 translated by ,m4 ,b4 ,huish 7#ahgi71 and ,aglas ,bouvenne's 8,notes et ,souvenirs sur ,charles ,meryon0 7#ahhc47 ,i have had no access to original documents1 except the chief documents of all1 the etchings themselves1 or to books not generally known2 but there may be readers1 perhaps1 who will welcome a brief account in ,english of ,meryon's career1 an estimate of his rank as an etcher1 and comments on all of his etchings that they have any need to know and admire4 ,the originals of all the etchings reproduced in the plates1 except the portrait by ,bracquemond1 are in the ,british ,museum4 ,c4 ,d4 #e ,september1 #aiba4 ,,erratum4--,page #bc1 line #ah from top1 for 8,february #dth0 read 8,february #adth40 ,,the ,,etchings ,,of ,,charles ,,meryon ,,introduction4 ,a century has passed since the birth of ,meryon1 a circumstance which excuses1 if it does not actually demand1 a survey in retrospect of the great etcher's work and the growth of his renown4 ,there is no indication1 it must be said at once1 that the lapse of time has weakened in any degree the sure fabric of his fame4 ,about no other modern etcher1 save ,whistler1 is there an equal consensus of opinion among those whose opinion counts1 that he ranks among the great masters of his art4 ,whistler himself was a dissentient2 he spoke one day to ,mr4 ,wedmore of 8,meryon1 whom you have taken out of his comfortable place40 ,without insinuating that he was jealous of a confrre with whom he was forced to share the honour of a ,wedmore catalogue1 it may be remarked that the utterances of such a lover of paradox as ,whistler need not be taken too seriously4 ,nor is an artist always the best judge of a fellow artist who pursues very different aims from his own4 ,meryon's reputation1 though it is ungrudgingly admitted and admired by most etchers of to-day and yesterday1 was established by the critics and collectors of a generation now extinct4 ,philippe ,burty1 who published the first critical article on ,meryon and the first catalogue of his etchings in the ,gazette des ,beaux-,arts of #ahfc1 was the first to discern clearly and to proclaim to the world his peculiar genius4 ,charles ,baudelaire and ,thophile ,gautier added their words of praise and the ,galerie ,notre-,dame evoked the enthusiasm of ,victor ,hugo4 ,bracquemond1 by twelve years his junior in age but his contemporary in the practice and mastery of etching1 gave him all the support of his appreciation1 and there was a small enlightened circle of collectors1 including ,wasset of the ,war ,office1 ,niel of the ,ministry of the ,interior1 ,meryon's former shipmate ,de ,salicis1 the ,english etcher ,seymour ,haden1 and a few others who saw the great merit of his work from the first4 ,but on the whole his reception in ,france was cool and discouraging2 academic opinion at the time was unfavourable to original etching4 ,the editor of the ,gazette des ,beaux-,arts grudged admission to ,burty's essay and asked1 if two articles were to be devoted to a modern etcher1 how many would be needed for ,raphael4 ,his ,galerie ,notre-,dame was refused by the ,salon in #ahec1 and though many of his ,paris etchings were exhibited there1 they gained no prize4 ,the public collections did not acquire his works and it was not till #ahff that ,burty induced the ,chalcographie ,impriale at the ,louvre to commission and publish one of his plates1 ,l',ancien ,louvre1 after ,zeeman 7plate #ch74 ,the stories told of the pitiful sums that he used to accept for proofs of his finest etchings1 a franc and a half or two francs1 sometimes1 seem almost incredible now1 when such proofs sell for hundreds of pounds4 ,in a pathetic letter which he addressed in #ahed to the ,minister of the ,interior1 appealing to him for the support which he could not obtain from the public1 he announced his intention of producing a set of ten etchings of ,bourges1 and charging fifteen francs for the set4 ,he actually sold the whole series of his masterpieces1 8,eaux-fortes sur ,paris10 as a set1 for twenty-five or thirty francs4 ,they sold very slowly indeed4 ,a receipt is extant from him for twenty-five francs paid by ,baron ,pichon in #ahff1 twelve years after the publication of the set1 for 8une suite de vues anciennes de ,paris1 graves par moi l'eau-forte1 intitules ,eaux-fortes sur ,paris40 ,it was not till #aiaj that the first collective exhibition of ,meryon's etched work was held in ,paris1 at the ,galerie ,devambez4 ,in ,england1 where his fame was spread by ,seymour ,haden1 ,philip ,gilbert ,hamerton and ,wedmore1 ,meryon's reputation grew more rapidly1 at least after his death4 ,the great ,french private collections of his etchings crossed the ,channel1 ,burty's being sold in #ahgf1 and the year #ahgi1 eleven years after ,meryon's death1 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 ,club1 to which the ,rev4 ,j4 ,j4 ,heywood was the largest contributor4 ,much later1 in #aijb1 an important exhibition was held by ,messrs4 ,obach ,co41 while ,messrs4 ,p4 and ,d4 ,colnaghi ,co41 arranged another very fine ,meryon exhibition in #aiai4 ,the ,british ,museum1 fortunately1 owes to the foresight of a former ,keeper of ,prints the early formation of a magnificent1 though not complete1 collection of ,meryon1 to which additions are still occasionally made1 though they must needs be few now that a further stage in the migration of fine proofs is in progress and not the ,channel only1 but the ,atlantic1 parts them from their pays d'origine4 ,the ,national ,gallery of ,scotland is fortunate in having obtained1 by the gift of ,mrs4 ,g4 ,r4 ,halkett1 a small selection of very fine proofs of ,meryon etchings1 but ,edinburgh's gain is far less than was ,glasgow's loss by the sale1 in #aiaf1 of the collection of ,mr4 ,b4 ,b4 ,macgeorge1 which was undoubtedly the most complete work of ,meryon ever brought together1 containing1 as it did1 not merely almost every etching by the master in almost every state1 but also a large number of his original drawings for the etchings of ,paris4 ,the year #aiaf was an unfavourable time for acquiring such a valuable uvre for any national or municipal museum1 and the ,macgeorge collection went to ,america and was dispersed1 only a small number of proofs remaining in1 or returning to1 this country1 where1 ,i suppose1 no one collection of importance still remains except that of the ,british ,museum4 ,a ,meryon exhibition is being held at the ,museum this autumn to celebrate the centenary of the artist's birth4 ,,early ,,life ,the story of ,meryon's life has often been told1 but those who do not know it may welcome a brief recapitulation of it here1 and indeed some such narrative is needed for the comprehension of his work1 which becomes much more interesting when something is known of the period and circumstances in which it was produced4 ,meryon was born in ,paris on ,november #bcrd1 #ahba1 as the natural son of ,dr4 ,charles ,lewis ,meryon1 an ,english doctor1 formerly physician and secretary to ,lady ,hester ,stanhope1 and an opera dancer1 ,pierre-,narcisse ,chaspoux1 aged twenty-eight1 known as ,mme4 ,gentil1 who already had a daughter by an ,english peer4 ,it was not till ,august #ith1 #ahbd1 that ,dr4 ,meryon made a formal recognition of paternity and left a sum of money1 on leaving ,france1 for his son's education4 ,his mother brought him up with tender care1 but he inherited from her apparently the mental disease with which he was afterwards afflicted2 she died1 out of her mind1 in #ahcg or #ahch4 ,at the age of five1 under the name of ,charles ,gentil1 he went to school at ,passy1 where he received some elementary lessons in drawing4 ,a very childish drawing of houses1 trees and a well1 in red and black chalk1 of which at a later period some one made a woodcut1 is in the ,british ,museum2 by internal evidence one may judge it to be earlier than the elementary lessons4 ,he went to ,marseilles1 ,hyres1 and to ,italy1 as far as ,pisa and ,leghorn2 then returned to ,paris till he made up his mind to go into the ,navy1 and1 in #ahcg1 entered the naval school at ,brest4 ,it was then that he adopted his father's name of ,meryon4 ,leaving the naval school in #ahci1 he sailed from ,toulon in ,october in the ,alger for the ,levant1 and was transferred at ,smyrna1 as a first-class cadet1 to the ,montebello4 ,he visited ,argos1 the tomb of ,agamemnon and the lion gate at ,mycenae1 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 ,athens1 #ahed 7plate #db74 ,on his return to ,toulon he had further lessons in drawing4 ,in #ahdb he went to sea again1 being gazetted as 8enseigne de vaisseau0 to the corvette ,le ,rhin1 which cruised about ,new ,zealand1 ,new ,caledonia1 and the islands of the ,pacific4 ,the fruits of these years of travel in ,oceania may be seen in a number of etchings which he made in later life 7,delteil #fc-gd74 ,a multitude of pencil sketches made on his travels remained in his family's possession till #aijd1 when they were given to the ,british ,museum by ,mr4 ,lewis ,meryon4 ,they include drawings of his shipmates1 of native houses1 fetishes and boats1 palm trees and other vegetation1 studies of skies and sunsets1 with notes of colour1 sketches of the flight of the albatross1 drawings of fish and other fauna of the ,pacific1 and last1 but not least1 the original drawings for ,le malingre ,cryptogame 7,d4 #ff7 and ,tte de chien de la ,nouvelle-,hollande 7,d4 #fe71 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 memoir4 ,long afterwards1 in conversations with ,burty1 ,meryon used to say how his thoughts dwelt on the rocky coast of ,new ,caledonia1 where 8he had met a race of savages1 handsome1 heroic1 intelligent1 where he had breathed an air overladen with balm1 where1 if he could1 he should like one day to return to finish life free and happy40 ,on the return of ,le ,rhin in #ahdf ,meryon received six months' leave and returned to ,paris4 ,he had scruples about his constitution being strong enough for the profession of a sailor2 he neglected to ask for an extension of his leave1 and in the end his resignation was accepted and he left the ,service on ,september #agth1 #ahdf4 ,he was then in possession of a sum of #bj1jjj francs left to him by his mother4 ,he took a studio and had lessons from a painter named ,philippe4 ,he has recorded his enthusiasm at this time for the pictures of ,delacroix1 ,decamps and ,hogarth1 whose work he had seen during a short visit to ,england4 ,after some experiments in allegory1 inspired by the proclamation of the republic at the ,february revolution1 he abandoned painting for engraving1 and entered the studio of the etcher1 ,eugne ,blry1 in #ahdh4 ,a circumstance which affected this decision was the discovery that his eyesight suffered from the defect known as ,daltonism1 a partial colour-blindness4 ,,the ,,early ,,etchings ,blry as an etcher has little interest for us1 but he was sufficiently skilled to impart in six months a sound technique to a pupil1 whose interest in the art was fostered by the study of old etchings and especially those of the ,dutch etcher of architecture and marine subjects1 ,renier ,zeeman 7#afbc-affc71 which he used to pick up for a few sous in the boxes outside the printsellers' shops4 ,meryon's first etching of all was a head of ,christ1 founded on a miniature after ,philippe de ,champaigne2 the only impression known of this etching is in the ,howard ,mansfield collection at ,new ,york4 ,during the years #ahdi-ej he produced a number of copies after ,loutherbourg1 ,salvator ,rosa1 ,karel du ,jardin and others1 but ,zeeman fascinated him above all in the double capacity of an etcher of marines and of views of old ,paris1 and it was from his style that he learnt most4 ,while still with ,blry his mind is said to have been slightly unhinged by an unfortunate love affair with the daughter of a restaurant keeper1 who would have nothing to say to him4 ,in solitary wanderings about the old streets of ,paris and meditations in his garret in the ,rue ,st4 ,etienne-du-,mont1 he formed plans for his series of etchings of old ,paris and began to make studies for them4 ,as early as #ahej one of these masterly plates1 ,le ,petit ,pont 7plate #g71 was finished4 ,in making his studies of old houses and churches1 ,meryon seldom made a complete drawing on the spot4 ,he would go every day at the same hour and make minutely finished studies of details on small bits of paper1 which he either stuck together or made another drawing from them4 ,he used an exceedingly sharp1 hard pencil2 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 ,museum1 which also possesses some of the drawings of architecture at ,bourges1 a place which first fascinated him on a visit made about #ahdh4 ,in drawing architecture ,meryon always worked upwards from the bottom of his object1 saying that buildings were begun from the foundation and the artist should follow the same method as the builder4 ,in the same way he would draw men from the feet upwards1 saying that they must always be planted firmly on their feet before they began to do anything4 ,le ,petit ,pont well illustrates another peculiarity of his practice in drawing architecture4 ,he deliberately renounced any competition with the camera of the photographer1 and claimed the right to arrange the different parts of what he drew in the manner best calculated to convey a certain impression1 while preserving the utmost exactness in the representation of detail in each part4 ,it has been observed1 by those who know the spot well1 that the towers of ,notre-,dame1 which dominate the whole composition1 are much too high in the etching in regard to their actual dimensions and to the laws of perspective4 ,after taking a drawing from very low down1 near the edge of the water1 ,meryon drew the towers again from the level of the street1 as the passer-by would habitually see them1 and fitted this drawing with great skill into the former one1 constructing by this combination a composition which produced the desired effect of impressive and majestic height1 all the details being absolutely accurate1 though on reflection it might be discovered that they could not all be seen at once4 ,le ,petit ,pont is the first of his mature works1 and marks an astonishing advance upon the exercises in copying other etchers which1 with the exception of a few important portraits1 are all that had preceded it4 8,unimportant10 his own portrait1 seated before an easel1 could never have been1 at least as a document1 though it may have been immature1 but we cannot judge of its quality1 for ,meryon destroyed it and preserved no proofs1 and we only know of its existence from his own statement recorded by ,burty4 ,the only proof of his portrait of ,eugne ,blry was destroyed by ,blry's wife because she did not like it4 ,thus the only portrait of his quite early time which is actually extant is that of ,edmond de ,courtives1 and of this only one impression1 formerly in the ,macgeorge collection1 can actually be traced4 ,it is a little medallion containing the head1 reduced from an etching which according to ,meryon's own account was originally a half length1 in which a violin and some chemical apparatus were introduced beside the sitter4 ,it was an original etching1 based on a drawing from life by ,meryon himself4 ,all the other portraits are of much later date1 one belonging to the year #ahef1 the rest to #ahfa or #ahfb 7plate #dg74 ,none of them are original etchings2 they are founded on drawings by others1 old prints or photographs1 in one case on a medallion by ,david d',angers2 they are quite insignificant and we shall have no need to mention them again4 ,the other etchings of #ahdi-ej would have no interest for us if anyone else but ,meryon had etched them4 ,it is only the four oblong subjects of ,paris and its vicinity after ,zeeman that count for something more1 because they show very plainly on what ,meryon formed his taste1 and anticipate1 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 ,rivire de ,seine et l'angle du ,mail1 habits that we shall soon come to regard1 when we consider the original etchings of ,paris1 as specially characteristic of ,meryon himself4 ,,the ,,etchings ,,of ,,paris ,but when we come to ,le ,petit ,pont 7plate #g71 etched in the same year as these copies after ,zeeman1 and exhibited in the ,salon of #ahej1 we are aware of quite a different vision1 a different order of intellect1 as well as greater perfection of technical skill4 ,it is becoming difficult for us after the lapse of seventy years1 in which so many other etchers have been working on ,meryon's lines1 to realise how new1 how epoch-making in the strict sense of the word1 was such an etching as ,le ,petit ,pont in #ahej4 ,there had been fine engravers and etchers of architecture before ,meryon2 there had been ,hollar1 there had been ,canale1 ,piranesi and ,rossini4 ,but they in their different degrees were facile and fluent1 rhetorical1 diffuse1 commercial1 in comparison with the severe1 tense1 concentrated style of ,meryon4 ,in his 8,eaux-,fortes sur ,paris10 which extend in date from #ahej to #ahed1 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 surpassed1 though other etchers have triumphed in other styles of etching which were entirely outside ,meryon's limited compass4 ,not only was he in advance of all the other notable etchers of his generation1 but he had finished this series of masterpieces before the others had begun to produce anything of importance4 ,millet began to etch in #ahee2 ,whistler's ,paris set dates from #aheh2 ,haden1 though he had etched in the forties1 did little that really counts till about #aheh4 ,jacque and ,daubigny were working before ,meryon1 but they are hardly in the same class4 ,it was consonant with ,meryon's brooding1 introspective temperament that he took the work of etching very seriously4 ,he acquired a profound knowledge of the technique of the art and applied it1 in the case of all his important etchings1 with conscientious thoroughness4 ,disdaining anything like a sketchy treatment of his subject1 he built up the whole design laboriously1 painfully1 with tireless perseverance1 after making the most conscientious studies of detail4 ,he was1 in fact1 by habit and temperament more an engraver than an etcher1 though he used the etching process instead of attacking the copper with a burin4 ,but nothing that ,i have yet said explains what there is in ,meryon that makes us regard him as a great artist4 ,any etcher might have taken all these pains and yet remained to the end nothing but an industrious plodder4 ,it was the combination1 in ,meryon1 of this high degree of mechanical skill with a fine instinct for design and the poet's vision which was still more specially his prerogative1 that places him in a different category from a ,lalanne1 a ,martial-,potmont or an ,edwin ,edwards4 ,the old streets of ,paris were not1 for him1 merely storehouses of picturesque motives1 structures composed of walls and porticoes1 gables and spires1 on which the sun arranged at different times of day different patterns of light and shade2 they were that1 certainly1 and his etcher's eye1 trained to observe niceties of gradation between black and white rather than varieties of actual colour1 took full advantage of their hitherto unexplored wealth of suggestion4 ,leaving all metaphor out of court1 his actual eyesight was astonishingly keen2 he saw details of architecture with the naked eye which would be revealed to average persons only by a telescope4 ,but to him the streets of ,paris were haunted places1 peopled with ghosts and wet with tears4 ,their atmosphere was infected by old crimes and miseries and sins4 ,the lonely meditations of a brain already morbid1 affected even when he was a boy by the discovery that he was a bastard1 suspicious in later life and shrinking from human intercourse1 were reflected in the melancholy which seems1 to sympathetic observers1 to brood over the dark narrow streets1 survivors of a medival ,paris1 much of which was doomed to destruction in the great demolitions and reconstructions of the ,second ,empire4 ,but ,meryon did not trust entirely to sympathetic observation to discern his meaning4 ,he expressed himself directly in verses1 which were meant to be published1 and in some cases actually were published1 along with the architectural etchings1 to explain what reflections the subjects aroused in the etcher's mind4 ,sometimes these verses were etched at the foot of the subject itself1 as in the fourth state of ,le ,stryge2 more often they were etched on separate plates1 in cursive writing1 with little ornaments and rather elaborate capitals1 the stanzas carefully spaced in a decorative arrangement4 ,they may be seen reproduced1 so far as they were actually etched1 in ,m4 ,loys ,delteil's catalogue1 but the whole of ,meryon's verses1 including some that he did not etch1 are collected and presented in a more legible form1 being printed with type1 in ,aglas ,bouvenne's 8,notes et ,souvenirs sur ,charles ,meryon40 ,they are jerky1 queer and amateurish verses1 but they throw so much light on ,meryon's mentality that they must not be neglected by any student of his art4 ,it is time that we returned to the ,paris etchings themselves1 of which only one1 ,le ,petit ,pont 7plate #g71 has hitherto been mentioned in our survey of the progress of ,meryon's work4 ,the complete series as he published them himself1 in three parts1 between #aheb and #ahed1 consists of twenty-two etchings1#b preceded by a portrait of ,meryon etched by ,bracquemond2 not the half-length portrait1 seated1 with the hand resting on the back of a chair 7plate #a71c which was etched in #ahec 7,beraldi #gg71 but the head in profile to the left 7,beraldi #gh71 in imitation of an antique sculpture in relief1 with the legend1 composed and etched by ,meryon himself1 in #ahed3 ,messire ,bracquemond ,a peint en cette image ,le sombre ,meryon ,au grotesque visage4 ,of the 8cahiers0 which were issued of the ,paris set1 containing this portrait1 probably not one remains to-day intact4 ,the twenty-two etchings by ,meryon himself consisted of an etched title 7plate #b7 printed on grey1 brown1 blue or green paper 7in which1 it should be noticed1 as well as in the address etched at the foot of each plate1 the etcher calls himself ,meryon1 not ,mryon71 four small preliminary etchings1 twelve important subjects1 which bear numbers in the final state1 which was not printed till #ahfa and then in an edition of thirty only1 and five more plates which were never numbered1 and which1 as regards size at least1 must be counted as 8minor0 works1 though they include ,la ,rue des ,mauvais ,garons 7plate #aj71 a plate to which posterity attaches a high value1 if ,meryon did not do so himself4 ,some of the minor etchings are so extremely rare that they must have been printed in small numbers and not generally included in the 8cahier40 ,several rather important etchings of ,paris were done at a later date1 and did not form part of the 8,eaux-,fortes sur ,paris0 set4 ,the dedication to ,zeeman1 8peintre des matelots0 7plate #c71 is in verses which express in simple language ,meryon's love and admiration for the master who had inspired his early efforts1 concluding with the words3-- ,mon matre et matelot1 ,renier toi que j'aime ,comme un autre moi-mme ,a revoir1 bientt4 ,the frontispiece 7plate #d71 a round composition in which a devil carrying a great scroll hovers against a lurid sky over the ,gothic gateway of the ,palais de ,justice1 is a sinister design4 ,the ,tomb of ,molire 7plate #bc71 tail-piece to the set1 was etched on the same plate1 and a proof exists from the undivided copper containing both designs4 ,the verses following the frontispiece are a comment on the latter1 and express ,meryon's conviction that the city of ,paris1 8,paris le ,paradis des amours et des ,ris10 is possessed by a 8noir ,diabloton1 malicieux1 mutin10 fostered by science1 and that this 8mchant animal1 ,origine du mal0 cannot be exorcised without razing the city to the ground4 ,these etched verses are very rare4 ,the symbolical coat of arms of the city of ,paris 7plate #e7 is another of the minor pieces inserted in #ahed1 when the set was being completed4 ,then follows ,le ,stryge 7plate #f71 etched in #ahec1 one of the most original and impressive of all ,meryon's etchings4 ,his elbows propped on the ledge of the balcony1 one of the ,gothic monsters of the western towers of ,notre-,dame broods with head in hands and lolling tongue1 an enigmatical and evil expression in his eye1 over the city of ,paris seen far below1 with the ,tour ,st4 ,jacques as the most prominent object4 ,jackdaws circle in the air about the towers1 and graven beneath the oval1 in one state only of the plate1 is the sinister couplet3-- ,insatiable vampire1 l'ternelle luxure ,sur la grande cit convoite sa pture4 ,the delicacy of the work1 in fine proofs1 is beyond the power of any mechanical process to reproduce4 ,two pencil studies1 formerly in the ,macgeorge collection1 are very interesting as showing ,meryon's conscientious method of preparation for this plate4 ,he made one very highly finished drawing of all that is seen of the city of ,paris down below1 reserving blank spaces for the ,stryge and for the ,tour ,st4 ,jacques--there is also a trial state of the plate1 showing that all this portion of the design was etched first1 directly from this drawing--and then another equally finished drawing of the tower and the stone monster by themselves1 with all the rest of the subject drawn in outline1 probably traced from the first drawing4 ,a drawing by ,meryon of another of the monsters of ,notre ,dame1 a monkey1 with a set of verses written beside it1 is reproduced in ,bouvenne's 8,notes et ,souvenirs40 ,then follows ,le ,petit ,pont 7plate #g71 in which the twin towers of ,notre-,dame1 beautifully placed on the plate1 surmount the long rows of houses on the ,quai du ,march ,neuf and dominate the whole composition4 ,the outline drawing which ,meryon made from the level of the shore1 showing the towers very much lower1 is reproduced in ,m4 ,delteil's catalogue4 ,l',arche du ,pont ,notre-,dame 7plate #h71 especially in the beautiful proofs on green paper1 is one of the most charming of the whole series and free from any eccentricity4 ,la ,galerie ,notre-,dame 7plate #i7 is a very beautiful rendering of ,gothic architecture1 and a most delicate study of effects of light1 direct and reflected4 ,the impressions vary much1 some being rich in tone and rather veiled1 others clean wiped and of a silvery clearness4 ,the highly finished drawing which ,meryon etched almost in facsimile1 only adding clouds in the sky1 was in the ,macgeorge collection4 ,la ,rue des ,mauvais ,garons 7plate #aj71 which formed the cul-de-lampe or tail-piece of the first livraison of 8,eaux-,fortes sur ,paris10 has always impressed modern observers as one of the most powerful and impressive of the etchings1 fraught with mystery1 enigmatic1 suggestive of long past tragedies4 8,quel mortel habitait10 are the verses etched on the building1 8,en ce gte si sombre8 ,qui donc l se cachait ,dans la nuit et dans l'ombre80 ,was it ,virtue1 in silent poverty2 was it ,crime8 ,no answer to the riddle is attempted4 ,the street exists no longer4 ,la ,tour de l',horloge 7plate #aa7 was drawn and etched in #aheb while alterations were in progress which materially altered the appearance of ,le ,chtelet4 ,this plate has always struck me as being a very straightforward and masterly portrait of a building1 but without so much personal expression as ,meryon generally contrived to impart to his other etchings4 ,an edition of #fjj copies of ,delteil's sixth state was published in ,l',artiste in #aheh1 and it was only after this large edition had been struck off that ,meryon made a rather important change in the plate1 which appears in the last two states1 by making rays of light issue1 somewhat unaccountably1 from the windows between the high square tower and the first of the round ones4 ,tourelle de la rue de la ,tixranderie 7plate #ab71 also etched in #aheb1 was drawn just before its demolition4 ,the etching gives a very beautiful effect of sunlight on a most picturesque old house1 with the lower part of its turret wreathed in the foliage of a creeper2 but the medival knight in helm and plumes1 who rides along the street1 and the nude woman standing in the doorway 7in the first state7 are curious additions to the scene4 ,the latter figure was retouched in the final state4 ,saint-,etienne-du-,mont 7plate #ac71 also etched in #aheb1 is similar in style1 as in dimensions1 to the last subject4 ,it gives1 again1 a beautiful effect of sunlight1 and the architectural details of the church are shown with an exquisite clearness4 ,the little figures are lively and interesting1 but in the state here reproduced a blemish may be noticed2 the raised arms of a workman on the scaffolding1 near the gas lamp on the right1 have been effaced1 to be restored in the next state4 ,la ,pompe ,notre-,dame 7plate #ad71 another plate belonging to the prolific year #aheb1 is one of the most picturesque etchings of the series4 ,the proportions of the various masses of architecture to the oblong plate are perfectly satisfying1 and the eye delights in the intricate lines1 alternately light and dark1 of the two wooden structures that rise out of the water like the piles of a 8lake dwelling40 ,meryon excuses himself1 in an interesting letter1 for making the towers of ,notre-,dame higher than they should be1 as actually seen from this point of view3 8,les ,tours saillent aussi un peu plus que dans la ralit2 mais je considre que ce sont licenses permises1 puisque c'est pour ainsi dire dans ce sens que travaille l'esprit1 sitt que l'objet qui l'a frapp a disparu de devant les yeux0 7quoted by ,m4 ,loys ,delteil from a letter to ,paul ,mantz74 ,this plate was published in an edition of #fjj by ,l',artiste in #aheh2 before that time the building itself had been demolished4 ,meryon alludes to the impending demolition in the rather insignificant little design1 with some doggerel verses etched within it1 known as ,la ,petite ,pompe 7plate #ae71 of #ahed4 ,le ,pont-,neuf 7plate #af71 an etching of #ahec1 is the ninth of the set as ,meryon numbered it4 ,it is a solid1 masterly piece of architectural etching about which there is not much to be said4 ,the light falling on the truncated turrets of the bridge and reflected on the surface of the river is very subtly observed4 ,in the sixth state1 and in that only1 eight verses are etched1 beginning ,ci-gt du vieux ,pont ,neuf ,tout radoub de neuf ,l'exacte ressemblance ,par rcente ordonnance4 ,this is poor stuff1 and ,meryon was well advised to suppress it in later states4 ,le ,pont-au-,change 7plates #ag1 #ah71 etched in #ahed1 shows again ,le ,chtelet and the ,tour de l',horloge1 and1 beyond the bridge1 the tower1 with which we are now familiar1 of ,la ,pompe ,notre-,dame4 ,this etching is remarkable for the many changes introduced into the sky in successive states4 ,from the second to the sixth state of ,delteil there is a balloon floating in the sky towards the left1 inscribed ,,speranza 7plate #ag71 to which the verses ,l',esprance 7plate #ai7 allude4 ,in the seventh state this balloon disappears2 in its stead there are great flights of birds across the sky1 of which the lower resemble wild duck1 while the upper ones1 with longer wings1 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 city4 ,these remain 7plate #ah7 during several alterations in the plate1 until the tenth state1 when they have disappeared from the left1 though a concentrated flock wheels about the ,tour de l',horloge1 and their place is taken by new balloons1 near and distant1 and in the eleventh state by still more balloons1 one of which bears the name of ,vasco de ,gama4 ,this is all rather crazy1 and the alterations were made1 like those on other plates to which we shall refer later1 after ,meryon's mind had finally become deranged4 ,this is evidently the etching referred to in a letter from ,baudelaire to ,poulet ,malassis 7quoted by ,m4 ,loys ,delteil73 8,dans une de ses grandes planches1 il a substitut un petit ballon une nue d'oiseaux de proie1 et1 comme je lui faisais remarquer qu'il tait invraisemblable de mettre tant d'aigles dans un ciel parisien1 il m'a rpondu que cela n'tait pas dnu de fondement1 puisque ces gens-l 7le gouvernement de l',empereur7 avaient souvent lch des aigles pour tudier les prsages1 suivant le rite1--et que cela avait t imprim dans les journaux1 mme dans le ,moniteur4 ,je dois dire qu'il ne se cache en aucune faon de son respect pour toutes les superstitions1 mais il les explique mal1 et il voit de la cabale partout40 ,this letter dates from ,january #ahfj1 a few months after ,meryon had been released from his first confinement in an asylum1 and it must be observed that any eccentricities due to mental derangement can only be traced in plates etched subsequently to #ahei1 or in the late states1 produced by re-touching after that date1 of the 8,eaux-fortes sur ,paris0 themselves1 which1 as first completed in #ahed1 the year of this publication1 had been perfectly normal4 ,another of the etched poems1 8,l',esprance10 accompanies ,le ,pont-au-,change4 ,after this1 two more of the 8,eaux-,fortes0 remain to be noticed1 and they are by general agreement the finest of the whole set3 ,la ,morgue and ,l',abside de ,notre-,dame de ,paris1 both etched in #ahed4 ,la ,morgue 7plate #bj7 combines a masterly distribution of black and white spaces and a perfectly successful treatment of the windows1 roofs and chimneys1 which rise in a curious succession of different levels from the riverside1 with a motive of poignant human interest in the dramatic group that bears1 on the left1 the body of a drowned man from the ,seine towards the 8,doric little ,morgue10 as ,browning calls it1 on the right4 ,the associations of the building1 irresistibly suggested by this incident1 are explained in the pathetic little poem1 8,l',htellerie de la ,mort0 7plate #ba71 ,meryon's finest effort in verse1 etched on two separate plates and intended to accompany ,la ,morgue1 but so rare that it very seldom does so4 8,the bed and the table that the ,city of ,paris offers gratis at any time to its poor children10 we can imagine what they are--a marble slab1 with water dripping down it1 under that roof so magnificently etched4 8,puissiez-vous ne point voir ,l sur le marbre noir ,de quelqu'me chrie ,la navrante effigie60 ,the poem was evidently completed originally in the first column1 ending with ,meryon's name1 address and date1 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 8 la fraiche corolle1 la sainte aurole10 a flower of love and happiness1 from the germ that is in man's heart4 ,in the impression at the ,british ,museum1 words of bad omen1 like 8,mort10 8,misre10 8,plaisir10 are printed in red1 and the good words1 8,dieu10 8,cieux10 8,amour10 and 8,bonheur10 are printed in blue4 ,then follows ,l',abside 7plate #bb71 the justly famous masterpiece for which higher sums are paid to-day than for any other etching except some of ,rembrandt's4 ,the design of the whole plate1 the lighting of the sky and of the side of the majestic cathedral1 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 charm4 ,how eloquent1 too1 is the contrast of all that splendid architecture across the river with the squalid foreground1 where heaps of sand are being shovelled into carts1 and barges of the humblest kind are moored along the shore4 ,l',abside1 again1 has a little etched poem 8,o toi dgustateur de tout morceau gothique10 to accompany it1 but this is one of the very rarest of ,meryon's etchings and is not in the ,british ,museum1 though the verses are written in pencil by ,meryon's hand on the margin of one of the states of ,l',abside in that collection4 ,then1 with the ,tombeau de ,molire 7plate #bc7 the series closes4 ,not only in the intensity of this realisation of his subject and in the perfect skill of the actual etching was ,meryon a great innovator1 but also in the importance that he attached to the utmost care in printing4 ,in collaboration with ,auguste ,deltre1 the best printer of etchings of his day1 ,meryon produced exquisite proofs of the early states of the 8,eaux-fortes sur ,paris0 printed in carefully composed brown and black inks on the choicest papers1 green1 brown1 yellowish1 white1 of old ,dutch manufacture or imported from ,japan4 ,this was a complete innovation in #ahej1 and he set an example which the most scrupulous etchers and printers have endeavoured to follow to this day but have never surpassed4 ,like most ,french etchers1 ,meryon preferred proofs from clean wiped plates to those printed with any considerable amount of tone4 ,a letter from ,meryon himself on this subject1 written in #ahfc1 is quoted by ,burty4 ,during the production of all these masterpieces ,meryon was living1 almost a recluse1 in his rooms in the ,rue ,st4 ,etienne-du-,mont4 ,he had great difficulty in selling proofs of his etchings1 though he asked no more than #cj francs for a ,paris set4 ,he took them in vain to various publishers2 there were then no dealers who sold etchings of this kind4 ,he had spent the money left to him by his mother2 he gained no rewards at the ,salon2 the ,chalcographie ,impriale du ,louvre ignored him4 ,he was almost starving1 says ,burty1 when he made the acquaintance of ,m4 ,jules ,niel1 librarian at the ,ministry of the ,interior1 a cultivated man who recognised at once the significance of ,meryon's work4 ,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 drawings4 ,in the winter of #ahee-ef the ,duke of ,aremberg had seen the ,views of ,paris at ,montpellier4 ,in #aheg he sent for ,meryon to ,belgium1 and commissioned him to etch views of his park at ,enghien4 ,but ,meryon was just then becoming a prey to mental disease1 and he returned to ,paris1 in great trouble of mind1 in ,march #aheh4 ,he became more and more unsociable1 especially after he removed to a little hotel in the ,rue ,foss ,st4 ,jacques4 ,deltre looked after him as best he could1 but ,meryon refused to leave his bed1 saying that he could not cross a sea of blood1 and threatened with a pistol those who approached him4 ,whilst he was in this state ,lopold ,flameng drew1 in ,may #aheh1 the well-known portrait of ,meryon in bed1 sitting up1 with a large black cravat round his neck1 the dark shadow of his head thrown upon the wall by the rays of a lamp 7plate #bd74 ,the features are sharp and emaciated with self-imposed fasting4 ,when the drawing was finished1 ,meryon asked to see it4 ,he sprang out of bed and tried to tear it up1 but ,flameng fled with the portrait4 ,on the following day1 ,may #abth1 ,meryon was carried off to the asylum at ,charenton ,st4 ,maurice4 ,the discipline and regular food1 instead of semi-starvation1 had a good effect on him1 and he was quiet1 gentle and polite4 ,while he was in the asylum he made one etching1 from a drawing of the ruins of ,pierrefonds brought to him by the architect1 ,viollet le ,duc4 ,it was during this time that ,deltre had impressions of some of his plates published by ,l',artiste4 ,on the #beth ,august1 #ahei1 ,meryon was released on leave for three weeks1 and did not actually go back to the asylum until #ahff4 ,,other ,,etchings ,,of ,,the ',,fifties ,the ,paris set had almost entirely absorbed his energies during the years of its production1 but he made one or two other good etchings during the same period4 ,two of the ,bourges etchings belong to this time1 the third being much later4 ,the only etching of #ahea was ,porte d'un ancien ,couvent1 ,bourges 7plate #ci71 a lightly etched plate1 parts of which were only drawn in outline4 ,meryon printed very few copies of it1 and intended to complete it later1 but it is a very beautiful piece of work in its present condition4 ,meryon projected the publication of a ,bourges set1 but it always remained in abeyance4 ,two draughts exist in his handwriting1 dated #aheb1 for the lettering of a title page to such a set1 and ,m4 ,delteil prints a letter addressed by him in #ahed to the ,ministry of the ,interior1 in which he sends a proof of the first plate etched of the proposed ,bourges set 7meaning1 no doubt1 ,rue des ,toiles1 ,bourges7 and begs for a subscription for fifty copies of a set of ten etchings at fifteen francs a set4 ,the set was to consist of four etchings of the same dimensions as the specimen submitted and six etchings of details of buildings4 ,the etchings were to represent private houses1 which were in more danger of demolition than public monuments4 ,he sent ,porte d'un ancien ,couvent 7plate #ci7 as a specimen of the less important etchings that he projected4 ,in the same letter he recalls that the ,ministry had subscribed for fifty copies of the ,paris set1 which had been originally intended to consist of ten etchings 7he counts only the important subjects which ultimately received numbers72 he had now decided to add two more 7,la ,morgue and ,l',abside7 and begged the ,minister to subscribe for fifty copies of these additional plates at two francs each1 adding that such help as he would get from the ,ministry was almost his only assistance in view of the indifference of the public4 ,rue des ,toiles ,bourges 7plate #dj7 is a very fine etching1 comparable to some of the rather similar subjects in the ,paris set1 notably ,tourelle1 ,rue de la ,tixranderie4 ,the early impressions of it are very beautifully printed4 ,the ,british ,museum has recently acquired a probably unique first state1 earlier than any described by ,m4 ,delteil1 printed before the plate had been reduced to its ultimate dimensions4 ,the third ,bourges etching1 ,ancienne habitation ,bourges 7plate #da7 was added much later1 in #ahfj1 and is in the style of some of the late ,paris etchings1 but not so good4 ,the only other etchings that date from the period of the 8,eaux-,fortes sur ,paris0 are the ,verses to ,eugne ,blry 7two different plates with the same contents1 ,d4 #hh1 #hi7 and the fine ,entre du ,couvent des ,capucins ,athnes 7plate #db71 both etched in #ahed4 ,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 ,athens1 though it was afterwards detached from the wall1 his etching is copied from one of the plates by ,j4 ,p4 ,le ,bas in ,j4 ,d4 ,le ,roy's 8,ruines des plus beaux monuments de la ,grce10 ,paris1 #ageh4 ,it was about this time that ,meryon began to etch plates of antiquarian interest from old drawings or prints4 ,though they were commissioned for illustrations1 it is evident1 among other things from a letter of ,baudelaire's written in #ahfj1 that ,meryon himself developed a rather tiresome habit of research1 both pedantic and eccentric in its methods4 ,one of the best of these derivative etchings1 the ,salle des ,pas-,perdus 7plate #ce71 after ,ducerceau1 dates from #ahee1 and ,le ,pont-,neuf et la ,samaritaine 7plate #cc7 and ,le ,pont-au-,change vers #aghd 7plate #cd7 were also etched in the same year4 ,they are fine etchings1 but do not arouse the same interest as ,meryon's first-hand impressions of the ,paris of his own day4 ,le ,chteau de ,chenonceau1 also after ,ducerceau1 and etched in a very dry manner1 is a plate of #ahef1 and in the same year he etched1 from photographs1 the large panoramic view of ,san ,francisco4 ,more typical ,meryons are the two queer etchings of #ahee and #ahef called ,la ,loi ,solaire and ,la ,loi ,lunaire1 in which he propounded very crazy views on morality1 one of them being that an upright posture is the proper attitude for sleep1 a theory which he himself carried into practice in later years1 by passing the night between two upright boards with his arms supported by loops of rope to keep him from falling4 ,le ,pilote de ,tonga1 a prose poem in a frame1 etched in #ahef1 is the first of what grew1 in the sixties1 into a long series of etchings founded on his sketches and reminiscences of his early voyage to the ,south ,seas4 ,these filled an even larger place in his thoughts in his last years1 but it is to be feared that the etchings of these subjects1 of which a few specimens are here reproduced 7plates #dc-df71 leave posterity rather cold4 ,,the ,,late ,,etchings ,the only etchings of any importance that ,meryon produced after his release from confinement are some of the last views of ,paris1 done at the time when he was retouching his old plates of ,paris and making the1 not very judicious1 alterations which distinguish their latest states4 ,the new ones are3 ,rue ,pirouette 7#ahfj1 plate #cf71 ,tourelle de la rue de l',ecole-de-,mdecine 7#ahfa71 which shows the house in which ,marat was assassinated 7plates #be1 #bf71 ,rue des ,chantres 7#ahfb1 plates #bg1 #bh71 ,collge ,henri ,,iv 7#ahfd1 plate #bi71 ,bain-froid ,chevrier 7#ahfd1 plate #cj71 ,le ,ministre de la ,marine 7#ahff1 plates #ca1 #cb7 and ,l'ancien ,louvre1 vers #afej 7#ahff1 plate #ch71 in which1 fulfilling a commission from the ,chalcographie du ,louvre1 he returned to the study of his old love1 ,renier ,zeeman4 ,the ,rue des ,chantres is incomparably the finest of these1 but it can only be seen to real advantage in the very rare early states1 one of which the ,british ,museum possesses 7plate #bg71 in which the spire1 a recent addition to ,notre-,dame designed by ,viollet-le-,duc1 soars into an empty sky1 which was afterwards disfigured by the incongruous insertion of two bells and a device with the initials ,j4 ,b4 7plate #bh74 ,the streets of all the etchings of the sixties are filled with excited crowds or little groups of tall1 unnatural looking people1 and all kinds of curious monsters and allegorical figures hover in the sky or swoop in rapid flight across it4 ,the ,collge ,henri ,,iv 7plate #bi7 in some of its states1 has for background a sea with sails and whales and sea-gods1 and the figures in the foreground are the most extraordinary that ,meryon ever drew4 ,it is of no use to dwell at length on these symptoms of mental decline4 ,the lonely artist1 subject to hallucinations1 thinking that ,jesuits were watching him in every street1 quarrelling with his best friends1 who found it impossible to help him1 almost starving because he thought it wrong to eat when others were in need1 was no longer capable of the concentrated effort that had produced the masterpieces of the first half of the fifties4 ,on ,october #abth1 #ahff1 he was shut up again at ,charenton1 where he died on ,february #dth1 #ahfh1 and where a friend of his sailor days1 ,de ,salicis1 pronounced an oration over his grave4 ,bracquemond etched1 with a few symbolical ornaments1 a copper plate to be laid on the slab of black ,breton stone1 resting on cubes on white stone1 which covered his tomb4 ,his life had been a failure2 he was himself only too ready to proclaim it4 ,he regarded art as something so mysterious1 so sacred1 as to be quite out of reach4 8,l'art pour lui n'existait qu' l'tat de ftiche1 d'idal10 wrote ,dr4 ,gachet to ,bouvenne1 8on ne devait pas y toucher--il n'y avait pas d'artistes40 ,to praise him as an artist was to make of him an enemy4 ,to such a temperament fame was denied while he lived4 ,it remained for posterity to do homage that could meet with no rebuff4 ,the sincerest flattery1 that of imitation1 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 life4 ,,list ,,of ,,meryon',s ,,etchings ,besides the earliest full catalogue of ,meryon's etchings1 that by ,p4 ,burty1 translated into ,english by ,m4 ,b4 ,huish 7#ahgi71 which derives its value from ,burty's ,memoir of ,meryon and his notes on certain of the etchings1 there are two catalogues of ,meryon in general use1 that written by the late ,sir ,f4 ,wedmore 78,mryon and ,mryon's ,paris10 #bnd ed41 ,london1 #ahib7 and the much more thorough catalogue by ,m4 ,loys ,delteil 7#aijg7 which forms ,tome ,,ii4 of the series1 8,le ,peintre-,graveur illustr40 ,the ,british ,museum collection is still arranged in ,wedmore's order1 which has one practical advantage3 it gives precedence to the important works1 the etchings of ,paris1 and describes the other etchings as minor works after these4 ,thus the visitor1 not an expert1 who asks for ,meryon's etchings and receives the first volume1 finds in it at once a number of the masterpieces4 ,he can persevere1 if he will1 and see the minor works also2 but1 if he is more easily tired1 he will at least have seen the ,paris set while his eye is fresh1 and will have spent none of his energy on the early experiments4 ,on the other hand1 ,delteil is not pedantically chronological2 he also places the ,paris etchings early1 by themselves1 and groups the remainder1 unlike ,wedmore1 by a subject arrangement1 in various classes4 ,by his more scientific description of states ,delteil has superseded ,wedmore1 and is now invariably quoted in sale catalogues4 ,how far even his catalogue is from being exhaustive is proved by the numerous additional states1 chiefly based on the examination of the ,british ,museum and ,macgeorge collections1 which ,mr4 ,h4 ,j4 ,l4 ,wright has described in the ,july number 7#aiba7 of the ,print ,collector's ,quarterly4 ,it is understood that a new edition of ,delteil is projected1 containing a definitive numeration of the states1 in which these and other corrections will be incorporated4 ,the present list attempts no description of states4 ,the titles are given in ,m4 ,delteil's order1 ,wedmore's numbers following in brackets1 with the date of each etching and a summary indication of the number of states at present known to exist1 quoted from ,delteil except where the reference 8see ,wright0 is given4 ,i4 ,,early ,,experiments4 #a 7#gh7--,la ,sainte ,face1 after ,p4 de ,champaigne4 #ahdi4 #b 7#fc7--,la vache et l' non1 after ,p4 ,j4 de ,loutherbourg4 7#b states74#d #c 7#fg7--,soldat de profil1 after ,salvator ,rosa4 #ahdi 7#b states74 #d 7#fg;a7--,soldat de face1 after ,salvator ,rosa4 #ahdi4 #e 7#fd7--,le mouton et les mouches1 after ,k4 du ,jardin4 #ahdi 7#b states74 #f 7#fe7--,les trois cochons couchs devant l'table1 after ,k4 du ,jardin4 #ahej 7#b states74 #g 7#ff7--,les deux chevaux1 after ,k4 du ,jardin4 #ahej4 #h 7#fb7--,la brebis et les deux agneaux1 after ,a4 van de ,velde4 #ahej8 7#b states74 #i 7#fh7--,le ,pavillon de ,mademoiselle et une partie du ,louvre1 after ,r4 ,zeeman4 #ahdi 7#c states74 #aj 7#fi7--;,entre du ,faubourg ,saint-,marceau1 ,paris1 after ,r4 ,zeeman4 #ahej 7#b states74 #aa 7#gj7--,un moulin eau prs de ,saint ,denis1 after ,r4 ,zeeman4 #ahej 7#b states74 #ab 7#ga7--,la rivire de ,seine et l'angle du ,mail1 ,paris1 after ,r4 ,zeeman4 #ahej 7#b states74 #ac 7#gb7--;,galiot de ,jean de ,vyl de ,rotterdam1 after ,r4 ,zeeman4 #ahej 7#c states74 #ad 7#gc7--;,bateaux de ,harlem ,amsterdam1 after ,r4 ,zeeman4 #ahej 7#d states74 #ae 7#ge7--,pcheurs de la ,mer du ,sud1 after ,r4 ,zeeman4 #ahej 7#b states74 #af 7#gd7--,passagers de ,calais ,flessingue1 after ,r4 ,zeeman4 #ahej 7#b states74 ,,ii4 ,,views ,,of ,,paris4 #ag 7#a7--,titre des 8,eaux-fortes sur ,paris40 #aheb4 #ah 7#b7--;,ddicace ,reynier ,nooms1 dit ,zeeman4 #ahed4 #ai 7#c7--;,ancienne porte du ,palais de ,justice4 #ahed 7#c states74 #bj 7#d7--,qu'me pure gmisse4 #ahed 7#b states74 #ba 7#e7--;,armes symboliques del ,ville de ,paris4 #ahed 7#c states7 #bb 7#f7--;,fluctuat nec mergitur4 #ahed4 #bc 7#g7--,le ,stryge4 #ahec 7#h states74 #bd 7#h7--,le ,petit ,pont4 #ahej 7#g states--see ,wright74 #be 7#i7--,l' ,arche du ,pont ,notre-,dame4 #ahec 7#g states--see ,wright74 #bf 7#aj7--,la ,galerie ,notre-,dame4 #ahec 7#e states74 #bg 7#aa7--,la rue des ,mauvais ,garons4 #ahed 7#c states74 #bh 7#ab7--,la ,tour de l' ,horloge4 #aheb 7#aj states--see ,wright74 #bi 7#ac7--,tourelle de la rue de la ,tixranderie4 #aheb 7#d states--see ,wright74 #cj 7#ad7--,saint-,etienne-du-,mont4 #aheb 7#h states74 #ca 7#ae7--,la ,pompe ,notre-,dame4 #aheb 7#i states74 #cb 7#af7--,la ,petite ,pompe4 #ahed4 7#b states74 #cc 7#ag7--,le ,pont-,neuf4 #ahec 7#aj states--see ,wright74 #cd 7#ah7--,le ,pont-au-,change4 #ahed 7#ab states--see ,wright74 #ce 7#ai7--,l' ,esprance4 #ahed 7#c states--see ,wright74 #cf 7#bj7--,la ,morgue4 #ahed 7#g states74 #cg 7#ba7--,l' ,htellerie de la ,mort4 #ahed4 #ch 7#bb7--,l',abside de ,notre-,dame de ,paris4 #ahed 7#h states74 #ci 7--7--,o toi dgustateur4 #ahed 7#b states74 #dj 7#bc7--,tombeau de ,molire4 #ahed 7#b states74 #da 7#bd7--,tourelle de la rue de l' ,ecole-de-,mdecine4 #ahfa 7#ac states--see ,wright74 #db 7#be7--,rue des ,chantres4 #ahfb 7#e states--see ,wright74 #dc 7#eh7--;,collge ,henri ,,iv4 #ahfd 7#aa states--see ,wright74 #dd 7#bg7--;,bain-froid ,chevrier4 #ahfd 7#f states74 #de 7#bf7--,le ,ministre de la ,marine4 #ahfe 7#f states74 #df 7#bi7--,le ,pont-,neuf et la ,samaritaine de dessous la #a arche du ,pont-au-,change4 #ahee 7#d states74 #dg 7#bh7--,le ,pont-au-,change vers #aghd1 after ,nicolle4 #ahee 7#f states--see ,wright74 #dh 7#gf7--,la ,salle des ,pas-perdus #ahee 7#d states74 #di 7#cj7--,rue ,pirouette aux ,halles4 #ahfj 7#f states74 #ej 7#hd7--,passerelle du ,pont-au-,change aprs l' incendie de #afba4 #ahfj 7#h states--see ,wright74 #ea 7#ca7--,partie de la ,cit vers la fin du ,,xvii sicle4 #ahfa 7#h states74 #eb 7#he7--,le ,grand ,chtelet vers #aghj4 #ahfa 7#c states74 #ec 7#fj7--,l',ancien ,louvre1 after ,r4 ,zeeman4 #ahff 7#f states74 ,,iii4 ,,various ,,views4 #ed 7#cc7--,porte d'un ancient ,couvent1 rue ,mirebeau1 ,bourges4 #ahea 7#c states--see ,wright74 #ee 7#ce7--,rue des ,toiles ,bourges4 #ahec 7#h states--see ,wright74 #ef 7#cd7--;,ancienne habitation ,bourges4 #ahfj 7#e states74 #eg 7#gg;a7--,chteau de ,chenonceau 7#ast plate74 #ahef4 #eh 7#gg7--;,chteau de ,chenonceau 7#bnd plate74 #ahef 7#c states74 #ei 7#ha7--,ruines du ,chteau de ,pierrefonds4 #aheh 7#c states--see ,wright74 #fj 7#hc7--;,chevet de ,st4-,martin-sur-,renelle1 after ,p4 ,langlois4 #ahfj 7#c states74 #fa 7#cb7--;,entre du ,couvent des ,capucins1 ,athnes4 #ahed 7#c states74 #fb 7#gi7--,plan du ,combat de ,sinope4 #ahec 7#b states74 #fc 7#df7--;,couverture du voyage la ,nouvelle-,zlande4 #ahff 7#h states--see ,wright74 #fd 7#cf7--,le ,pilote de ,tonga4 #ahef 7#b states74 #fe 7#ch7--,tte de ,chien de la ,nouvelle-,hollande4 #ahej 7#b states7 #ff 7#cg7--,le ,malingre ,cryptogame4 #ahfj 7#d states74 #fg 7#dj7--,nouvelle-,caldonie4 ,grande case indigne4 #ahfc 7#e states74 #fh 7#da7--,ocanie1 pche aux palmes4 #ahfc 7#d states74 #fi 7#db7--,presqu' le de ,banks4 ,pointe des ,charbonniers1 ,akaroa4 #ahfc 7#g states--see ,wright74 #gj 7#ci7--;,greniers indignes ,akaroa4 #ahfe 7#e states--see ,wright74 #ga 7#dc7--;,etat de la colonie franaise d',akaroa4 #ahfe 7#e states7 #gb 7#dd7--,la ,chaumire du ,colon4 #ahff 7#c states74 #gc 7#hj7--,san ,francisco4 #ahef 7#d states74 #gd 7#de7--,pr-volant des ,iles ,mulgrave4 #ahff 7#f states--see ,wright74 ,,iv4 ,,portraits4 #gd;a 7--7--,meryon assis devant son chevalet4 #ahdi8 7no proof exists74 #ge 7--7--,eugne ,blry4 #ahdi8 7no proof known to exist74 #gf 7--7--,edmond de ,courtives4 #ahdi8 #gg 7#hf7--;,casimir ,le ,conte4 #ahef7b states74 #gh 7#hg7--;,evariste ,boulay-,paty1 after ,david d',angers4 #ahfa 7#c states74 #gi 7#hh7--;,franois ,vite4 #ahfa 7#aa states--see ,wright74 #hj 7#ib7--,ren de ,burdigale1 after ,c4 de ,passe4 #ahfa 7#e states--see ,wright74 #ha 7#hi7--,pierre ,nivelle1 after ,m4 ,lasne4 #ahfa 7#f states74 #hb 7#ia7--;,jean ,besly1 after ,jaspar ,isac4 #ahfa 7#d states74 #hc 7#ic7--,l4 ,j4-,marie ,bizeul4 #ahfa 7#e states74 #hd 7#ij7--,th4 ,agrippa d' ,aubign1 after ,j4 ,hbert4 #ahfb 7#d states74 #he 7#id7--;,benjamin ,fillon4 #ahfb 7#e states74 #hf 7#ie7--;,armand ,guraud4 #ahfb 7#c states--see ,wright74 ,v4 ,,frontispieces1 ,,addresses1 ,,rebuses1 ,,miscellaneous ,,subjects4 #hg 7#dg7--;,adresse de ,rochoux4 #ahef8 7#e states--see ,wright74 #hh 7#dh;a7--,vers ,eugne ,blry 7small plate74 #ahed4 #hi 7#dh7--,vers ,eugne ,blry 7large plate74 #ahed 7#b states--see ,wright74 #ij 7--7--,l',attelage4 #ia 7#di7--,la loi lunaire1 #ast plate4 #ahef 7#c states--see ,wright74 #ib 7#ej7--,la loi lunaire1 #bnd plate4 #ahff 7#f states--see ,wright74 #ic 7#ea7--,la loi solaire4 #ahee4 #id 7#hb7--,prsentation du ,valre ,maxime au roi ,louis ,,xi4 #ahfj 7#f states--see ,wright74 #ie 7#ed7--,projet d'encadrement pour le portrait d',armand ,guraud4 #ahfb 7#aj states--see ,wright2 there is another1 following ,delteil's #fth1 still undescribed7 #if 7#fa7--;,frontispice pour le catalogue de ,th4 de ,leu4 #ahff4 #ig1 #ih 7#eb1 #ec7--,projets de billets d'action 7#b states--see ,wright74 #ii 7#ei7--,petit ,prince ,dito4 #ahfd 7#c states--see ,wright74 #ajj 7#ee7--,rbus3 ,la ,vendetta4 #ahfc 7#b states74 #aja 7#eg7--,rbus3 ,branger4 #ahfc 7#d states--see ,wright74 #ajb 7#ef7--,rbus3 ,morny4 #ahff 7#c states74 ,illustration3 7,from a proof in the possession of ,campbell ,dodgson1 ,esq41 ,m4,a41 ,c4,b4,e474 ,,plate #a4 ,,charles ,,meryon4 ,,by ,f,,lix ,,bracquemond4 #i #e-g_/h in4 ,illustration3 ,,plate #b4 ,,titre ,,des ,,eaux-,,fortes ,,sur ,,paris4 7,d4#ag47 #f-a_/b #d-ae_/af in4 ,illustration3 ,,plate #c4 ,d,,dicace ,,reynier ,,nooms1 ,,dit ,,zeeman4 7,d4#ah47 #f-ae_/af #b-c_/d in4 ,illustration3 ,,plate #d4 ,,ancienne ,,porte ,,du ,,palais ,,de ,,justice4 7,d4#ai74 ,,third ,,state4 #c-g_/af #c-c_/h in4 ,illustration3 ,,plate #e4 ,,armes ,,symboliques ,,de ,,la ,,ville ,,de ,,paris4 7,d4#ba47 ,,third ,,state4 #e-c_/h #d-c_/h in4 ,illustration3 ,,plate #f4 ,,le ,,stryge4 7,d4#bc47 ,,eighth ,,state4 #f-c_/d #e-a_/h in4 ,illustration3 ,,le ,,stryge4 ,illustration3 ,,plate #g4 ,,le ,,petit ,,pont4 7,d4#bd47 ,,fifth ,,state4 #aj-a_/d #g-a_/b in4 ,illustration3 ,,plate #h4 ,l',,arche ,,du ,,pont ,,notre-,,dame4 7,d4#be47 ,,third ,,state4 #f #g-c_/d in4 ,illustration3 ,,plate #i4 ,,la ,,galerie ,,notre-,,dame4 7,d4#bf47 ,,third ,,state4 #aa-a_/h #f-ae_/af in4 ,illustration3 ,,plate #aj4 ,,la ,,rue ,,des ,,mauvais ,,gar,,ons 7,d4#bg47 ,,third ,,state4 #e #c-g_/h in4 ,illustration3 ,,plate #aa4 ,,la ,,tour ,,de ,l',,horloge4 7,d4#bh47 ,,third ,,state4 #aj-e_/af #g-a_/d in4 ,illustration3 ,,plate #ab4 ,,tourelle ,,de ,,la ,,rue ,,de ,,la ,,tix,,randerie4 7,d4#bi47 ,,second ,,state4 #i-c_/d #e-c_/af in4 ,illustration3 ,,plate #ac4 ,,saint-,,tienne-,,du-,,mont4 7,d4#cj47 ,,fifth ,,state4 #i-c_/d #e-a_/h in4 ,illustration3 ,,plate #ad4 ,,la ,,pompe ,,notre-,,dame4 7,d4#ca47 ,,ninth ,,state4 #f-c_/d #i-g_/h in4 ,illustration3 ,,plate #ae4 ,,la ,,petite ,,pompe4 7,d4#cb47 ,,second ,,state4 #d-a_/d x #c-a_/d in4 ,illustration3 ,,plate #af4 ,,le ,,pont-,,neuf4 7,d4#cc47 ,,eighth ,,state4 #g-c_/af #g-a_/d in4 ,illustration3 ,,le ,,pont-,,neuf4 ,illustration3 ,,plate #ag4 ,,le ,,pont-,,au-,,change4 7,d4#hd47 ,,second ,,state4 #f-a_/h #ac-a_/af in4 ,illustration3 ,,plate #ah4 ,,le ,,pont-,,au-,,change4 7,d4#cd47 ,,ninth ,,state4 #f-a_/d #ac-a_/af in4 ,illustration3 ,,plate #ai4 ,l',,esp,,rance4 7,d4#ce47 7,,vers ,,destin,s ,,accompagner ,,le ,,pont-,,au-,,change47 #b-a_/b #e;in4 ,illustration3 ,,plate #bj4 ,,la ,,morgue4 7,d4 #cf47 ,,third ,,state4 #i-a_/h #h-a_/h in4 ,illustration3 ,,plate #ba4 ,l',h,,tellerie ,,de ,,la ,,mort4 7,d4#cg47 ,,two ,,plates ,,each #d-c_/d #a-c_/h in4 ,illustration3 ,,plate #bb4 ,l',,abside ,,de ,,notre-,,dame ,,de ,,paris4 7,d4#ch47 ,,fourth ,,state4 #f-a_/b #aa-c_/d in4 ,illustration3 ,,plate #bc4 ,,tombeau ,,de ,,moli,,re4 7,d4#dj47 ,,second ,,state4 #b-e_/h #b-c_/d in4 ,illustration3 ,,plate #bd4 ,,charles ,,meryon1 #aheh4 ,,by ,l,,opold ,,flameng4 #h-c_/d #aj-c_/d in4 ,illustration3 ,,plate #be4 ,,tourelle ,,de ,,la ,,rue ,,de ,l',,cole-,,de-,m,,decine4 7,d4#da47 ,,sixth ,,state4 #h-c_/h #e-c_/af in4 ,illustration3 ,,plate #bf4 ,,tourelle ,,de ,,la ,,rue ,,de ,l',,cole-,,de-,m,,decine4 7,d4#da7 ,,ninth ,,state4 #h-c_/h #e-c_/af in4 ,illustration3 ,,plate #bg4 ,,rue ,,des ,,chantres4 7,d4#db47 ,,first ,,state4 #aa-c_/d #e-g_/h in4 ,illustration3 ,,plate #bh4 ,,rue ,,des ,,chantres4 7,d4#db47 ,,fourth ,,state4 #aa-c_/d #e-g_/h in4 ,illustration3 ,,plate #bi4 ,,coll,,ge ,,henri ,,iv4 7,d4#dh47 ,,sixth ,,state4 #aa-e_/h #ah-g_/h in4 ,illustration3 ,,plate #cj4 ,,bain-,,froid ,,chevrier4 7,d4 #dd47 ,,fourth ,,state4 #e-a_/h #e-e_/h in4 ,illustration3 ,,plate #ca4 ,,le ,,minist,,re ,,de ,,la ,,marine4 7,d4 #de47 ,,first ,,state4 #f-e_/h #e-c_/d in4 ,illustration3 ,,plate #cb4 ,,le ,,minist,,re ,,de ,,la ,,marine4 7,d4 #de47 ,,fifth ,,state4 #f-e_/h #e-c_/d in4 ,illustration3 ,,plate #cc4 ,,le ,,pont-,,neuf ,,et ,,la ,,samaritaine 7,d4 #df47 ,,third ,,state4 #e-aa_/af #h in4 ,illustration3 ,,plate #cd4 ,,le ,,pont-,,au-,,change ,,vers #aghd1 ,d',,apr,s ,,nicolle4 7,d4 #dg47 ,,third ,,state4 #e-e_/af #i-c_/h in4 ,illustration3 ,,plate #cf4 ,,la ,,salle ,,des ,,pas-,,perdus ,l',,ancien ,,palais-,,de-,,justice4 7,d4 #dh47 ,,fourth ,,state4 #aj-e_/h #ag-a_/h in4 ,illustration3 ,,plate #cf4 ,,rue ,,pirouette ,,aux ,,halles4 7,d4 #di47 ,,third ,,state4 #f-a_/h #d-i_/af in4 ,illustration3 ,,plate #cg4 ,,partie ,,de ,,la ,,cit ,,vers ,,la ,,fin ,,du ,x,v,i,ie ,,si,,cle4 7,d4 #ea47 ,,seventh ,,state4 #f #ab-e_/h in4 ,illustration3 ,,plate #ch4 ,l',,ancien ,,louvre1 ,d',,apr,s ,,une ,,peinture ,,de ,,zeeman4 7,d4 #ec47 ,,fifth ,,state4 #f-e_/h #aj-a_/b in4 ,illustration3 ,,plate #ci4 ,,porte ,d',,un ,,ancien ,,couvent ,,bourges4 7,d4 #ed47 ,,second ,,state4 #f-e_/h x #d-c_/d in4 ,illustration3 ,,plate #dj4 ,,rue ,,des ,,toiles ,,bourges4 7,d4 #ee47 ,,fifth ,,state4 #h-a_/b #d-c_/d in4 ,illustration3 ,,plate #da4 ,,ancienne ,,habitation ,,bourges4 7,d4 #ef47 ,,fourth ,,state4 #i-e_/h x #e-g_/af in4 ,illustration3 ,,plate #db4 ,,entr,e ,,du ,,couvent ,,des ,,capucins ,,ath,,nes4 7,d4 #fa47 ,,third ,,state4 #g-e_/h #e in4 ,illustration3 ,,plate #dc4 ,,nouvelle-,,cal,,donie4 ,,grande ,,case ,,indig,,ne ,,sur ,,le ,,chemin ,,de ,,ballade ,,poepo4 7,d4 #fg47 ,,fourth ,,state4 #e-e_/h #i-c_/d in4 ,illustration3 ,,plate #dd4 ,,oc,,anie1 ,,peche ,,aux ,,palmes4 7,d4 #fh47 ,,fourth ,,state4 #f-a_/d #ac-a_/d in4 ,illustration3 ,,plate #de4 ,,la ,,chaumi,,re ,,du ,,colon4 7,d4 #gb47 ,,third ,,state4 #c-a_/h #c in4 ,illustration3 ,,plate #df4 ,,pr-,,volant ,,des ,,les ,,mulgrave4 7,d4 #gd47 ,,fifth ,,state4 #e-c_/d #c-a_/h in4 ,illustration3 ,,plate #dg4 ,l4 ,j4-,,marie ,,bizeul4 7,d4#hc47 ,,fourth ,,state #f-a_/b #d-e_/h in4 ,,footnotes3 #a ,in each case the dimensions given are those of the original plate1 and not of the subject or engraved surface4 #b ,a list of the contents of the set1 8,eaux-,fortes sur ,paris10 may be found useful2 it is as follows3-- ,a4 ,meryon's portrait by ,bracquemond4 #a4 ,the title4 #b4 ,dedication to ,r4 ,zeeman4 #c4 ,porte du ,palais de ,justice 7frontispiece74 #d4 ,verses1 8,qu'me pure gmisse40 #e4 ,arms of the ,city of ,paris4 #f4 ,le ,stryge 7numbered #a74 #g4 ,le ,petit ,pont 7numbered #b74 #h4 ,l',arche du ,pont ,notre-,dame 7numbered #c74 #i4 ,la ,galerie ,notre-,dame 7numbered #d74 #aj4 ,la ,rue des ,mauvais ,garons4 #aa4 ,la ,tour de l',horloge 7numbered #e74 #ab4 ,tourelle de la rue de la ,tixranderie 7numbered #f74 #ac4 ,st4 ,etienne-du-,mont 7numbered #g74 #ad4 ,la ,pompe ,notre-,dame 7numbered #h74 #ae4 ,la ,petite ,pompe4 #af4 ,le ,pont-,neuf 7numbered #i74 #ag4 ,le ,pont-au-,change 7numbered #aj74 #ah4 ,verses1 8,l',esprance40 #ai4 ,la ,morgue 7numbered #aa74 #bj4 ,verses1 8,l',htellerie de la ,mort40 #ba4 ,l',abside de ,notre-,dame 7numbered #ab74 #bb4 ,tombeau de ,molire4 #c ,this portrait is extremely rare1 as only ten impressions were taken2 it has been reproduced by heliogravure4 ,the impression reproduced in this book is in the collection of the author4 #d ,when states are not mentioned it is to be understood that there is only one state4