. Engraving and etching : a handbook for the use of students and print collectors . le and burin. A good example of histalent are his fine illustrations to the first volume of the* Chansons by Jean Benjamin Delaborde (fig. loi). Moreaus greatest importance lies, perhaps, less in hisown engravings than in the large number of charmingcompositions reproduced from his designs by engraverswho adapted themselves closely to his style, such asNoel Lemire, C. and H. Guttenberg, and Jean BaptisteSimonet. In the Monuments pour servir a IHistoirc duCostume en France we find Moreau and a Swiss painter,Sigi


. Engraving and etching : a handbook for the use of students and print collectors . le and burin. A good example of histalent are his fine illustrations to the first volume of the* Chansons by Jean Benjamin Delaborde (fig. loi). Moreaus greatest importance lies, perhaps, less in hisown engravings than in the large number of charmingcompositions reproduced from his designs by engraverswho adapted themselves closely to his style, such asNoel Lemire, C. and H. Guttenberg, and Jean BaptisteSimonet. In the Monuments pour servir a IHistoirc duCostume en France we find Moreau and a Swiss painter,Sigismund Freudenberger(Freudeberg), contemporary withhim in Paris, working together in the pictorial illustra-tion of aristocratic life, every disturbing influence beingcarefully smoothed away, just as Watteau depicted the 222 ENGRAVING IN FRANCE social life of the same peoples grandparents at thebeginning of the century. A group of artists, with Jean Michel Moreau among thechief, took an active part in the production of book-illustrations. In the eighteenth century line-engraving;. Fig. loi. Jean Michel Moreau (the younger) : The Toilet.(From Delabordes Choix de Chansons, Paris, 1773). plays a part, like that of the woodcut in the sixteenthcentury, but with other motives. The literature of societyhad to make its appearance in an artistic guise ; numerousillustrations are scattered throughout elegant volumes ;vignettes decorate the beginning, and so-called culs-de- ILLUSTRATED BOOKS 223 lampe the end of the chapters. Although it was notunusual during the seventeenth century to publish bookswith copper-plates, yet the French illustrated books of theeighteenth century form a group of peculiar change of manners, marked outwardly by the disuseof the great periwig, may be observed both in art andliterature, and in the union of both offered by illustratedbooks. In the illustrations by Claude Gillot (1673—1722),a pupil of Watteau, to the Fables of Huard de La Motte,17


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