Need we explain why we have separated these boxes from the productions of the goldsmiths and the jewellers? These small relics of a special and clearly-defined period, have a character of their own: one may almost hazard the assertion that the artists who designed them had hit upon the only style which suited them, and it is but just to add that it is to France we owe the masterpieces of this style.

Fashion has multiplied in later days the number of amateur collectors of snuff-boxes, and the late exhibitions, that held for the people of Alsace-Lorraine and that of historical costume, have shown the richness of certain series, and the marvels of art which they disclose. There are boxes which the beauty of the material, the perfection of the chasing, and the merit of the painted enamels or the miniatures have raised to enormous prices; and yet we are unable to call such prices extravagant, or to attribute them to a mere caprice likely to disappear before some new and whimsical fashion.

Moreover, by the result of a fortunate legacy bequeathed to the museum of the Louvre by M. and Mme. Philippe Lenoir, and by the learned description of it drawn up by M. Henri Barbet de Jouy, its eminent conservator, the public can judge of the importance of this special bequest. Here are the names of the artists whose works we meet with in the new collection:-

1734. Jean Ducrollay.

'737- Jean-Charles Ducrollay.

1739. Pierre-Joseph Antoine.

1745. Jean Moynat.

1752. Charles-Barnabe Sageret.

1752. Jean George.

1754. Pierre-Jean Bellange.

1755. Mathieu Coiny.

1761. Louis-Francois-Auguste Taunay.

1768. Joseph-Etienne Blerzy.

1768. Jean-Franc.-ois Mathis de Beaulieu.

1772. Pierre-Jean Lenfant.

1774. BartMlemy Pillieu.

1779. Adrien-Jean-Maximilien Vachette.

1784. Barbe.

1800, etc. Daniel Chodowiecki, of Dantzig.

It will doubtless be remarked that all these names belong to the eighteenth century, which is in fact the true epoch of snuff-boxes : the older boxes, and especially those of the reign of Louis XIV., easily recognised by their more ample style and dimensions, in most cases suggestive of bonbonnieres, were still the work of the goldsmiths of the period. The manufacture had not yet become sufficiently important to maintain a special branch of art. But soon the snuff-box became an indispensable ornament; ingenuity exerted itself to clothe it in diversities of form, to put into requisition every material and to satisfy caprice To study them with advantage one must therefore as M. Barbet de Jouy understood so well, have recourse to a classification by groups, bringing together those examples which have a certain affinity; and this is the mode which we shall adopt.

Hard stones, Mosaics, Inlaid work. - We find, in this class, almost all those materials which we shall have to consider under the head of gems. Some specimens are cut out of the solid block, such as rock crystal, some of the agates, and the chalcedonies; but, in the majority of cases, the various pieces, table cut and polished, and chosen from among the most pure and curious descriptions of stones, are brought together by means of a setting (une monture a cage) finely chased. The most remarkable are the oriental or moss agates, Labrador feldspar, the lumachella, with iridescent colours, the lapis lazuli of Persia, etc.

Next to these come the mosaics, the one kind in hard stones cut in relief and representing vases of flowers, birds, and arabesques; the other in hard stones forming a flat surface in the style of the mosaics of Florence; and lastly, the Roman mosaics, some of which, of the school of the Vatican, reproduce subjects and monuments with singular delicacy and astonishing reality.

The incrustations have this special interest, that among them we meet with the most ancient specimens, such as those beautiful boxes of light-coloured tortoise-shell whereon groups, buildings, and arabesques are outlined in chased gold associated with that fine gold pique mentioned in the preceding pages. Sometimes the gold is used in union with open cut ornamentation in engraved mother-of-pearl, which indicates the time of the latter part of the reign of Louis XIV., or the period of Louis XV. The other incrusted boxes are usually of mother-of-pearl, with ornaments and devices in burgau, tinted ivory, or iron and gold chased : these compositions, often executed with the minutest care, elevate their more common materials to rivalry with precious gems.