once the property of Zanetti—­and than which a finer set is supposed never to have been exhibited for sale—­produced 1000 francs:  certainly a moderate sum, if what Zanetti here says of it (in a letter to his friend Gaburri, of the date of 1726) be true.  “If ever you do this country (Venice) the honour of a visit, you will see in my little cabinet a collection of CALLOTS, such as you will not see elsewhere—­not in the royal collection at Paris, nor in the Prince Eugene’s, at Vienna—­where the finest and rarest impressions are supposed to be collected.  I possess every impression of the plates which Callot executed; many of them containing first proofs, retouched and corrected by the engraver himself in red chalk.  I bought this Collection at Paris, and it cost me 1950 francs.  They say it was formed by the engraver himself for his friend M. Gerard an Amateur of Prints.”  “It should seem that Zanetti’s description was a little overcharged; but in his time there was no complete catalogue of the artists.”  Cat. p. 153.

[H] It formed No. 345 of the Catalogue; where it is described as being “a magnificent proof upon India paper, with a margin of 15 lines all round it.  It was with the bur, and before the cross-hatchings upon the mane of the Ass.”  The finest copy of this subject, sold in this country, was that formerly in the collection of M. Bernard; and recently purchased by T. Wilson, Esq.  Will the reader object to disporting himself with some REMBRANDTIANA, in the Bibliomania p. 680-2.?

[175] One of those pictures (No. 188 in the Catalogue) produced 3015
    francs:  the other, only 180 francs.  The Sebastian Bourdon (No. 139,)
    was sold for 67 francs, and the Parmegiano, (No. 34) for 288 francs.

[176] See the Bibliographical Decameron; vol. i. p. clvii. &c. [M. 
    Denon’s Missal was purchased by an English amateur, and sold at the
    sale of the Rev. Theodore Williams’s Library for L143. 17s.]

[177] [Ere we take leave of this distinguished Frenchman, let us dwell for
    two seconds on his autograph.

    [Autograph:  Denon]

[178] There has been recently struck (I think, in 1819) a medal with the
    same obverse and reverse, of about the size between an English
    farthing and halfpenny.  The statue of Henry is perhaps the MIRACLE OF
    ART:  but it requires a microscopic glass to appreciate its wonders. 
    Correctly speaking, probably, such efforts are not in the purest good
    taste.  Simplicity is the soul of numismatic beauty.

[179] The Artist who struck the series of medals to commemorate the
    campaigns of the Duke of Wellington, from his landing in Portugal to
    the battle of Waterloo.

[180] [See the OPPOSITE PLATE, which represents the upper part of the
    Picture.]

[181] [I sent a commission for it, for a friend, at the sale of Mr.
    Craufurd’s effects, but lost it.]