LE STRYGE

Size of the original print, 63 by 5 inches.

From the etching by Meryon, dated 1853. In the middle distance is seen the Tour St. Jacques. This brooding demon of stone, perched high up on the northwest tower of the cathedral of Notre Dame, has taken rank as a masterpiece of mediæval Gothic imagination.

Size of the original print, 74 inches by 7 inches.

Le Pont Neuf is still one of the most picturesque of Paris bridges, though the little turrets are no longer there. The view is taken from the water's edge. As it happens, this "New Bridge" is the oldest bridge in Paris; just as in Oxford "New College" is the oldest of them all.

discouragement he destroyed the most magnificent series of his plates. When we think of the scores of mediocre engravers of all kinds, who, without one ray of imagination, live decently and contentedly by their trade, and then of this rare and sublime genius actually plowing deep burin lines across his inspired work, because no man regarded it; and when we remember that this took place in Paris, in our own enlightened nineteenth century, it makes us doubt whether, after all, we are much better than savages or barbarians."

Since Mr. Hamerton wrote the eloquent paragraph just quoted, we have had formal biographies of Meryon, and learned and critical commentaries on his etchings, while public museums vie with wealthy amateurs for their possession; but all too late for poor Meryon! His brother etcher, Sir Seymour Haden, who was his senior, is alive to-day and enjoying the renown that his works have brought him; while Meryon "sleeps well," after what surely was to him "life's fitful fever," and lies buried in the cemetery of the asylum at Charenton.

Charles Meryon was born in Paris on the 23d of November, 1821. He was the son of Charles Lewys Meryon, an English physician. His mother was Pierre Narcisse Chaspoux, a French ballet dancer. The father seems to have neglected him utterly, while his mother did all she could for her son-watching over his education with tender care, and at her death leaving him 20,000 francs.

In his seventeenth year Meryon entered the Naval School at Brest, and after two years of study went to sea as a cadet, and in due time. rose to the rank of lieutenant. During the seven years spent in the Navy he visited New Zealand, Australia, and New Caledonia, as well as the seaports of the Mediterranean; and it was in 1846 that, owing to the feebleness of his constitution, he resigned his commission, and, taking a studio in the old Latin quarter of Paris, resolved to study painting. He soon found this career closed against him by reason of his color-blindness, and he did not discover his true vocation until his attention was directed to etching by Eugène Bléry, whose pupil he became for six months. Bléry worked somewhat in the conventional style of De Boissieu, and he evidently taught his pupil nothing except the mere technique of the process. Meryon's real master in art was Reinier Zeeman, a Dutch etcher of the seventeenth century, whose views of the Paris of his day inspired our artist to undertake the great work of his life his "Eaux fortes sur Paris."

At this time Baron Haussmann, under the commands of Louis Napoleon, was constructing his monotonously handsome modern streets and boulevards out of the picturesque labyrinth of old Paris; not reverently restoring and preserving, but ruthlessly demolishing and obliterating; and Meryon's passionate artist-soul was grieved at a destruction which he was powerless to pre

L'ABSIDE DE NOTRE DAME DE PARIS

Size of the original print, 11 by 6 inches.

From the etching by Meryon, dated 1854. To the left the three arches of the Pont aux Choux span the river, and beyond are seen the ancient buildings of the Hôtel Dieu. This plate is usually accounted Meryon's masterpiece. Not only is it his loveliest plate, but in it are displayed the greatest amount of knowledge of drawing, composition and taste. One very eminent New York authority calls Meryon's Apse of Notre Dame "The finest etching in existence."