drawing, but for the most part these designs, which have all been reproduced in autotype, have little interest.

There is one drawing of a different character in the same collection which has never been published, and which is noticeable on account of its size, for it is nearly five inches across. The shape is circular, and it appears to have been intended to decorate a plate, or the centre of a shield, as it is too large for a medal. The subject is disposed in two bands. Moses and the Israelites, having crossed the Red Sea, stand safe within the inner circle; without, all round, flows the sea, overwhelming the hosts of the Egyptians.

Both in design and execution, this piece bears all the characteristics of Delaulne's second manner, and looks like an adaptation from a drawing by Cousin, or an imitator of his manner. The three little drawings of subject possessed by the British Museum are not important. All three are drawn with the pen, and washed with the brush after Delaulne's favourite method, but two sheets of studies for founts, in the same collection, delicately executed on vellum, recall the decorative designs of his earlier work, and it would seem as if Delaulne's principal activity as a goldsmith must, like that of Duvet, be set down to the beginning of his career, and that during his later years, when established in Germany, he devoted himself more exclusively to the practice of engraving.

I have identified a large collection of his original designs in a book bequeathed by Mr. Douce to the Bodleian Library at Oxford. In this book are over six hundred drawings, the greater number of which are by Delaulne himself. Of the remainder, some are due to the hand of his son, then come a few by Le Petit Bernard, with whose name the volume is labelled, and several on the closing leaves are by a fourth hand, whose manner is German rather than French. Those by Étienne Delaulne represent every class of work in which he was engaged. One long series is devoted to designs for magnificent jewellery, which show an immense fertility of resource in ornament; many of the jewels bear the arms of the wearer for whose use they were intended, and one very splendid pendant has the of Diana. The opening pages teem with sketches of subject, amongst which occur, again and again, the originals of well-known engravings; and Delaulne's work at the Royal Mint is preserved in an important set of drawings made for coins issued during the reigns of Henri II., François II., Charles IX., and Henri III. Every little head is a studied portrait, and a pretty girlish profile of Mary, Queen of Scots, her hair caught back from her temples in a net, and her throat encircled by a little ruff, which occurs on the reverse of a piece struck on the accession of her husband, François II., is not the least interesting of the set, although the study for the head of Henri

III. is better constructed, and remarkably expressive of character.

Many of the drawings of subject in this book are specially noticeable for the beauty of their landscape backgrounds. One little composition, a' Chasse au Cerf,' in eight compartments, is in Delaulne's most individual manner, and drawn with his most exquisite skill. The stag, closely pressed by the running footman and the fleetest dog, bounds onward; the dog who tarries snuffs the scent, next run an eager couple who in turn are followed by the Seigneur, overlooking the sport, mounted on his 'viste courtaud,' and attended by servants, who have dogs and horses in reserve; all these are coursing gaily through an open country, the features of which are touched with loving delicacy. But this is an early drawing, and the graceful landscape on p. 9, in which we see the shepherd playing on his pipe, whilst his flock feed, and his dog dances before him, this, too, bears date 1533, and pictures the glad France of Delaulne's youth, the land to which he might in vain look back from his exile in Germany.

Whether he ever returned to his native country after his second flight we know not. La Croix du Maine asserts that he was born and died in Paris, but La Croix du Maine is mistaken as to the date and place of his birth, and may be wrong in his other statements. As, of all the mass of later work which

we possess, not one piece bears the 'Cum priv. Regis,' which should stamp it as issued on French soil, we cannot but conclude that Delaulne, having been twice driven from France, ended his days in voluntary banishment within the sheltering walls of Augsburg. The art which he practised was, with him, cast out of France.

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CHAPTER V.

ENAMELLERS OF LIMOGES.-(1500-1588).

Jean Penicaud. Pierre Reymond. Léonard Limosin.

Ceris pingere ac picturam inurere quis primus excogitaverit, non constat. Quidam Aristidis inventum putant, postea consummatum a Praxitele.

PLIN. Nat. Hist.

THE point from which the whole movement of the Renaissance takes its departure is, as has been said, the rehabilitation of the individual. In France the artistic instinct translates the current thought with admirable logic. Monumental art gave way before the strong personal motive. The architect forgot to raise the temple, and learned to build the house.

All labour had for its end the pleasure and service of man, of man as typified in culminating perfection by the Prince-the typical Prince of the Renaissance, one in whom every sense of body and power of mind had been developed. Wealth was but the means of seizing all knowledge and all beauty; leisure was good but as the possibility of the full enjoyment of physical and intellectual life. Artists, whose function it