But gem engraving dates in France no further back than the last years of the sixteenth century, that is to say, at a time when the art was already declining beyond the Alps. Julien de Fontenay, surnamed Coldore, was the first to show himself endowed by the exceptional qualities of a portraitist, the especial inheritance of French art. Encouraged by Henry IV., a monarch ever ambitious to bring the national glories into full relief, Julien obtained a residence within the Louvre, together with the rank of valet de chambre to the king. No one will therefore be surprised to see him frequently reproducing the effigy of his patron, whether on magnificent cameos or intaglios, engraved on precious stones.

Subjoined, are the names of all the French engravers we have been able to find mention of in history :

1595. Julien de Fonteney, "Coldore".

1610. Maurice, originally of the Low Countries, but settled at Roanne.

- Commode Muller, of Strasburg,† 1735. FranQois-Jullien Barier, born 1680,† 1746.

1672. Maurice, fils,† 1732.

1700 Conrad Muller, son of Commode, settled in Paris.

1730. Jean-Baptiste Certain, pupil of Maurice fils.

- Louis Chapat portrait of Louis XV.

- Jacques Guay, born about 1715, at Marseilles, † 1787. 1752. Madame de Pompadour, pupil of Guay.

1770. Romain-Vincent Jeuffroy, born 1749 in Rouen,† 1826.

- Jean-Henri Simon, born 1752,† 1834.

- Jean-Marie-Amable-Henri Simon, son of foregoing, born 1788.

To these may be added Lelievre, Marchant, Cerbara, Morelli and A. Mastini, about whom nothing is known.

Jacques Guay, mentioned in this list, was one of the most eminent gem engravers of the eighteenth century. After admiring the superb cameo representing Louis XV. (his head encircled by a laurel-wreath, and bust draped after the antique), one cannot but regret that, doubtless carried away by the passing fashion of the time and certain personal influences, this artist should have lavished his talents on the reproduction of those trifling allegories with which everything was then overladen. Rut can we now reproach him for having lacked the strength to shake off the arbitrary yoke of his all powerful pupil, the Marquise de Pompadour, from whom he seems to have almost constantly sought his inspirations. We are too far removed from the period where these facts were accomplished, too many misguiding passions have intervened between the art-loving favourite and our days, to enable us now to pronounce an unbiassed judgment. Still, from the confidential notes left by Guay himself, one is fain to acknowledge how beneficial the patronage of Madame de Pompadour has been to this branch of art, no less than to the French school of ceramics. In the Paris Cabinet of Medals, is a chalcedony intaglio (No. 2505) representing the Marquise as Minerva, standing and placing a cornucopia on a gem-engraving lathe. A winged genius lifts the veil which concealed the shield of the goddess, and thus discloses the three silver towers, the armorial bearing of the marquise. On the exergue is the legend: Guay, 1752.

In the collection of plates engraved by Madame de Pompadour after the gems of her master, this intaglio is thus explained : " Minerva, benefactress and patroness of gem engraving." Flattery! it may be said. But the answer to such a charge will be found in the subjoined extract from the engraver's notes, the very form of which shows that they were not worded with a view to posterity: "Guay a grave cette pierre en creux pour transmetre a la posterite, la proctretion que madame de Pompadour a daigne lui a corder, sa reconnesance et des plus respectueuse et des plus seinsere. Si la gravure en pierre est conservee on le doit a la Minerve du siecle, elle a protege ce ar, en i travaillan, et fesant vivre le graveur. L'epoque et (est) des plus veritable, a Paris, ce 14 avril 1758. J. Guay".

Tripod of red Sicilian jasper, mounted in dead gilt bronze and chased by Gouthierc (Collection of Sir Richard Wallace.).

Jeuffroy, who follows close on him both in point of time and talents, forms to some extent a connecting link between the eighteenth century and the modern school, which is making praiseworthy efforts to maintain an honourable position.

Bordering on France is a nation whose natural aptitudes would fit for gem engraving. The thoughtful and painstaking German artists, trained to the grand style by the school of Albert Durer, were well suited for this work, and we accordingly find them engaged upon it from the opening of the sixteenth century.

Subjoined arc their names :

1520. Henry Engelhart, otherwise Daniel.

1570. Gaspero Misuroni, of Milan.

1570. Girolamo Misuroni, id.

1576. Gaspard Lehman, engraver to Rodolph II.

1576. Jerome von Miseron, antiquary to the same sovereign.

1600. Christopher Schwaiger, of Augsburg.

1612. Denis von Miseron, son of Jerome.

1658. Ferdinand Eusebius of Miseron, antiquary to Leopold.

1670. Christopher Vinder, rock crystal engraver.

1670. Gerard Valder, of Strasburg, settled in Vienna.

1690. Seidlitz, of Vienna

- Philip Christopher v. Becker, his pupil, born about 1675,† 1743-

- Christopher Dorsch, of Nuremberg, 1676 - 1732.

- Susannah Maria Dorsch, wife of the painter Preisler 1700. Michael Vais, of Dessau.

1700. Joseph Zigler, a Bohemian, master of Pichler.

- John Anthony Pichler, of Tyrol, born 1700, a pupil of Zigler. 1732. Oxe, a Swiss engraver.

1732. Laurence Natter, settled in Italy.

1733. Mark Tuscher. of Niirnberg, who withdrew to Denmark. J735 Joseph Pichler, ob. 1790.

1739. Aaron Wolf, son of Jacob, a Brandenburg engraver.

1740. Meinir. 1750. Preisler.

Foremost amongst these is the Misuroni or Von Miseron family of artists claimed by two countries. The Italians maintain that Gaspero and Girolamo, natives of Milan, had practised their art in that place before removing to Germany. In the fact that Jerome Von Miseron was ennobled in 1576, the Germans recognise not only the reward due to the talents of this artist, but also to the services rendered by his ancestors. Rodolph II. appointed Jerome Von Miseron court antiquary; Jerome's son Denis, obtained the same appointment from the emperor, and in 1658, Leopold continued this honorary title to Ferdinand Eusebius Von Miseron, the last engraver of this family.

In the seventeenth century, when the taste prevailed for vases of precious stones, Germany occupied a foremost place in this branch of art, in which Christopher Vinder acquired, one may say, a European reputation. In this list, we have inserted the name of Natter for convenience of reference only. But having settled in Italy, where he developed a passion for antique works, which he endeavoured to imitate perfectly, signing them with false names, such as AYAOY, or disguising his own in Greek: NATTEP EIlOIEI, he must remain classified amongst Italian artists.

A really eminent name amongst German engravers, not to say among those of the eighteenth century generally, was that of John Anthony Pichler. Many of his works came to be confounded with those of antiquity and the Renaissance, and at a period of decline he restored to gem engraving the splendour it had so long previously enjoyed.

We will not conclude without paying homage to our English neighbours. Although Queen Elizabeth was obliged to invite Coldore to execute her portrait, England has still produced a number of engravers, amongst whom Thomas Simon, 1649; Charles-Christian Rcisen, born 1685, died 1725; Smart his pupil, who removed to Paris in 1722; Seaton, a Scotchman, and Claus, both pupils of Reisen. Claus died mad in 1737.