of modern art.

It is almost fixed that we leave Paris within a week or ten days from
hence:--and then, for green fields, yellow corn, running streams, ripened
fruit, and all the rural evidences of a matured summer.

[164] It was translated into English, and published in this country on a
reduced scale, both as to text and engravings--but a reprint of it,
with a folio volume of plates, &c. had appeared also in 1802. At the
time, few publications had such a run; or received a commendation, not
more unqualified than it was just. See an account of this work in the
_Library Companion_, p. 442. edit. 1824.

[165] [M. Denon DIED in 1825, aged 78. The sale of his _Marbles, Bronzes,
Pictures, Engravings, &c._ took place in 1826.]

[166] [It was sold at the sale of M. Denon's pictures for 650 francs, and
is numbered 187 in the Catalogue.]

[167] [One of these pictures brought 1,400, and the other 220 francs:
prices, infinitely below their real worth. They should have been sold
HERE!]

[168] [M. Crapelet says--this bust was modelled after the life by PIGALLE:
and was, in turn, the model of that belonging to the figure of
Voltaire in the library of the Institute: see p. 195 ante.]

[169] [The result--judging from the comparative prices obtained at the
sale--has confirmed the propriety of my predilection. It brought 5000
francs. In the sale catalogue, is the following observation attached:
"On admire dans ce precieux tableau de chevalet la facilite
surprenante de pinceau et cette harmonic parfaite de couleur qui
faisaient dire au Tiarini, peintre contemporain, "Seigneur Guerchin,
vous faites ce que vous voulez, et nous autres ce que nous pouvons."
No. 14.]

[170] ["This figure was cast from a model made by Montoni in 1809. There
were ONLY six copies of it, of which four were in _bronze_ and
two in _silver_." _Cat._ No. 717. I have not been able to
learn the price for which it was sold.]

[171] The OPPOSITE PLATE will best attest the truth of the above remark. It
exhibits a specimen of that precise period of art, when a taste for
the gothic was beginning somewhat to subside. The countenance is yet
hard and severely marked; but the expression is easy and natural, and
the _likeness_ I should conceive to be perfect. As such, the picture
is invaluable. [So far in the preceding edition. The sequel is a
little mortifying