Sculpture_; and it is "_imprime a Paris_" though it was to be obtained
from John Nourse, "_Libraire dans le_ Strand, _proche_ Temple-barr"--a
well-known importer of foreign books, and one of Henry Fielding's
publishers. The date is 1755, being the twenty-eighth year of the reign
of His Majesty King George the Second--a reign not generally regarded as
favourable to art of any kind. In what month of 1755 the little volume
was first put forth does not appear; but it must have been before
October, when Nourse issued an English version. There is a dedication,
in the approved French fashion, to the Marquis de Marigny, "_Directeur &
Ordonnateur General de ses Batimens, Jardins, Arts, Academies &
Manufactures_" to Lewis the Fifteenth, above which is a delicate
headpiece by M. Charles-Nicolas Cochin (the greatest of the family),
where a couple of that artist's well-nourished _amorini_, insecurely
attached to festoons, distribute palms and laurels in vacuity under a
coroneted oval displaying fishes. For Monsieur Abel-Francois Poisson,
Marquis de Marigny et de Menars, was the younger brother of
Jeanne-Antoinette Poisson, the celebrated Marquise de Pompadour.
Cochin's etching is dated "1754"; and the "Approbation" at the end of
the volume bears his signature in his capacity of _Censeur_.

Of the "M. Rouquet" of the title-page biography tells us little; but it
may be well, before speaking of his book, to bring that little together.
He was a Swiss Protestant of French extraction, born at Geneva in 1702.
His Christian names were Jean-Andre; and he had come to England from his
native land towards the close of the reign of George the First. Many of
his restless compatriots also sought these favoured shores. Labelye, who
rose from a barber's shop to be the architect of London Bridge; Liotard,
once regarded as a rival of Reynolds; Michael Moser, eventually Keeper
of the Royal Academy, had all migrated from the "stormy mansions" where,
in the words of Goldsmith's philosophic Wanderer--