Nor was this all.  Napoleon summoned Visconti, the famous antiquary, archaeologist, and connoisseur, from Rome to Paris, to assist in getting up the admirable descriptions and criticisms, particularly of the ancient statues.  This department was confided to Visconti, Guizot, Clarac, and the elder Duchesne.  The supervision of the engraving and publishing department was entrusted to the Messrs. Robilliard, Peronville, and Laurent.  These works were published in numbers of four plates, atlas folio, at the price of 96 francs each for the proofs before the letter, and 48 francs for the prints.  The first number of the Musee Francais was issued in 1803, and the last in 1811; but the Musee Royal, which was intended to supply the deficiencies of the Musee Francais, was not completed till 1819; nevertheless, it was Napoleon’s work, though consummated in the reign of Louis XVIII.

The Musee Francais was originally published in five volumes, and contains, besides the descriptions and criticisms on the plates, admirable essays—­1st. on the History of Painting, from its origin in ancient times down to the time of Cimabue; 2d. on the History of Painting in the German, Dutch, Flemish, and French schools; 3d. on the History of Engraving; 4th. on the History of Ancient Sculpture.  The Musee Royal was published in two volumes.  A second edition of the Musee Francais was published by the Messrs. Galignani, in four volumes, with an English and French letter-press, but both greatly abridged.  The letter-press of the Musee Royal has never been rendered into English.  The plates were sold by the French government in 1836, since which time a small edition has been printed from both works.

BOYDELL’S SHAKSPEARE GALLERY.

About the year 1785, Alderman J. Boydell, of London, conceived the project of establishing a ‘Shakspeare Gallery,’ upon a scale of grandeur and magnificence which should be in accordance with the fame of the poet, and, at the same time, reflect honor upon the state of the arts in Great Britain and throughout the world.  Mr. Boydell was at this time a man of great wealth and influence, and a patron of the fine arts, being an engraver himself, and having accumulated his fortune mostly by dealings in works of that character.

He advertised for designs from artists throughout Great Britain, and paid a guinea for every one submitted, whether accepted or not; and for every one accepted by the committee, a prize of one hundred guineas.  The committee for selecting these designs was composed of five eminent artists, Boydell himself being the president.  The first painters of the age were then employed to paint these pictures, among whom were Sir Joshua Reynolds, Sir Benjamin West, Fusell, Romney, Northcote, Smirke, Sir William Beechy, and Opie.