[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.  The above picture, an undoubted original—­and by
    a master (the supposed pupil of John Van Eyk) who introduced the art
    of oil-painting into Italy—­was sold for only 162 francs:  whereas the
    copy of it, in oil, by Laurent, executed expressly for the
    accompanying plate (and executed with great skill and fidelity) cost
    400 francs!]

[172] [What a taste have the Virtuosi at Paris!  This interesting picture
    was allowed to be sold for 162 francs only.  Who is its fortunate
    Possessor?]

[173] [The OPPOSITE PLATE, which exhibits the head in question, is a
    sufficient confirmation of the above remark.]

[174] [First, of the MARC ANTONIOS.  Since the sale of the Silvestre
    Collection, in 1810, nothing had been seen at Paris like that of M.
    Denon.  It was begun to be formed in the eighteenth century:  from which
    it is clear, that, not only was every proof at least an hundred years
    old, but, at that period, ZANETTI, the previous possessor of this
    Collection, sought far and wide, and with unremitting diligence, for
    the acquisition of the choicest impressions of the engraver.  In fact,
    this Collection, (contained in an imperial folio volume, bound in
    morocco—­and of which I necessarily took but a hasty glance) consisted
    of 117 original impressions,