A bibliographical, antiquarian and picturesque tour in France and Germany . ssarily be velut inter ignes Luna minores I It was not therefore without extreme gratificationthat, on gossipping with M. Benard upon the subject,the other morning, I heard him exclaim with a sortof screaming emphasis :— Comment done. Monsieur,on veut dire que la nuit est plus claire que le jour!But when I cross the Rhine, I shall see how they treatthe subject at Munich—which is considered to be thecradle of that particular art. Enough of lithographyfor the present. The venders of old prints are veryrare. It is not as
A bibliographical, antiquarian and picturesque tour in France and Germany . ssarily be velut inter ignes Luna minores I It was not therefore without extreme gratificationthat, on gossipping with M. Benard upon the subject,the other morning, I heard him exclaim with a sortof screaming emphasis :— Comment done. Monsieur,on veut dire que la nuit est plus claire que le jour!But when I cross the Rhine, I shall see how they treatthe subject at Munich—which is considered to be thecradle of that particular art. Enough of lithographyfor the present. The venders of old prints are veryrare. It is not as with us ; for there is no distinct classof printsellers who are almost exclusively devoted tocollecting the performances of the old school of AlbertDurer and Marc Antonio, &c. Yet M. Van Praet con-trived not long ago, in his antiquarian perambulations,to pick up an old print . which is a very extraordi-nary curiosity; and certainly—with the exception of theSt. Christopher—the oldest print with a date which Iremember to have seen. It is a whole length of OF THE FINE ARTS. 515 Bernardinus, with the date of 1454 : wholly unknownto Heineken, Baitsch, and every other writer upon thesubject of engravings. M. Van Praet has had somefew (about twenty-five) copies of it lithographised, andof these I enclose one for your inspection.* It is sin-gularly curious. Our friend Mr. Ottley would haverejoiced to have introduced a copy of such a uniqueproduction into his own masterly performance uponthe History of the Art of Engraving. With the preceding very summary, and perhapsvery superficial, remarks upon the State of the FineArts at Paris, I take my leave both of this Metropolisand of its inhabitants. It is upwards of six weekssince I fixed my tent here, and during that time youwill allow that I have not been an idle or an indiffer-ent spectator of what has presented itself to my pursuits have related chiefly to books, pictures,and miscellaneous antiquities. If I have no
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