precisely suited to the gay and graceful pencils of Gravelot,
Moreau, Eisen, Boucher, Cochin, Marillier, and Choffard. To
understand their merits, and the limits of their art, it is enough
to glance through a series of the designs for Voltaire, Corneille,
or Moliere. The drawings of society are almost invariably dainty
and pleasing, the serious scenes of tragedy leave the spectator
quite unmoved. Thus it is but natural that these artists should
have shone most in the illustration of airy trifles like Dorat's
"Baisers," or tales like Manon Lescaut, or in designing tailpieces
for translations of the Greek idyllic poets, such as Moschus and
Bion. In some of his illustrations of books, especially, perhaps,
in the designs for "La Physiologie de Gout" (Jouaust, Paris, 1879),
M. Lalauze has shown himself the worthy rival of Eisen and Cochin.
Perhaps it is unnecessary to add that the beauty and value of all
such engravings depends almost entirely on their "state." The
earlier proofs are much more brilliant than those drawn later, and
etchings on fine papers are justly preferred. For example, M.
Lalauze's engravings on "Whatman paper," have a beauty which could
scarcely be guessed by people who have only seen specimens on
"papier verge." Every collector of the old French vignettes, should
possess himself of the "Guide de l'amateur," by M. Henry Cohen
(Rouquette, Paris, 1880). Among English illustrated books, various
tastes prefer the imaginative works of William Blake, the etchings
of Cruikshank, and the woodcuts of Bewick. The whole of the last
chapter of this sketch is devoted, by Mr. Austin Dobson, to the
topic of English illustrated books. Here it may be said, in
passing, that an early copy of William Blake's "Songs of Innocence,"
written, illustrated, printed, coloured, and boarded by the author's
own hand, is one of the most charming objects that a bibliophile can
hope to possess. The verses of Blake, in a framework of birds, and