certainly they describe the post-Richardsonian novel. But that the
passage does not in any part refer to Fielding is clear from the fact
that the writer presently praises _Joseph Andrews_, coupling it with
_Gil Blas_.

Mezzotint, Gem-cutting, Chasing (which serves to bring in M. Rouquet's
countryman, Moser), Jewelry, China, (_i.e._ Chelsea ware) are all
successfully treated with more or less minuteness, while, under
Architecture, are described the eighteenth-century house, and the new
bridge at Westminster of another Swiss, Labelye, who is not named: "The
architect is a foreigner," says Rouquet, who considered he had been
inadequately rewarded. "It must be confessed (he adds drily) that in
England this is a lifelong disqualification." From Architecture the
writer passes to the oratory of the Senate, the Pulpit and the Stage. In
the last case exception is made for "_le celebre M. Garic_," whose only
teacher is declared to be Nature. As regards the rest, M. Rouquet thus
describes the prevailing style:--"The declamation of the English stage
is turgid, full of affectation, and perpetually pompous. Among other
peculiarities, it frequently admits a sort of dolorous exclamation,--a
certain long-drawn tone of voice, so woeful and so lugubrious that it is
impossible not to be depressed by it." This reads like a recollection of
Quin in the Horatio of Rowe's _Fair Penitent_.

Upon Cookery M. Rouquet is edifying; and concerning the
eighteenth-century physician, with his tye-wig and gilt-head cane,
sprightly and not unmalicious. But we must now confine ourselves to
quoting a few detached passages from this discursive chronicle. The
description of Ranelagh (in the chapter on Music) is too lengthy to
reproduce. Here is that of the older Vauxhall:--"The Vauxhall concert
takes place in a garden singularly decorated. The Director of Amusements