In any case, M. Rouquet's definition of the "Arts" is a generous one, almost as wide as Marigny's powers, already sufficiently set forth at the outset of this paper. For not only--as in duty bound--does he treat of Architecture, Sculpture, Painting and Engraving, but he also has chapters on Printing, Porcelain, Gold-and Silver-smiths' Work, Jewelry, Music, Declamation, Auctions, Shop-fronts, Cooking, and even on Medicine and Surgery. Oddly enough, he says nothing of one notable art with which Marigny was especially identified, that "art of creating landscape"--as Walpole happily calls Gardening--which, in this not very "shining period," entered upon a fresh development under Bridgeman and William Kent. Although primarily a Londoner, one would think that M. Rouquet must certainly have had some experience, if not of the efforts of the innovators, at least of the very Batavian performances of Messrs. London and Wise of Brompton; or that he should have found at Nonsuch or Theobalds--at Moor Park or Hampton Court--the pretext for some of his pages--if only to ridicule those "verdant sculptures" at which Pope, who played no small part in the new movement, had laughed in the _Guardian_; or those fantastic "coats of arms and mottoes in yew, box and holly" over which Walpole also made merry long after in the famous essay so neatly done into French by his friend the Duc de Nivernais. M. Rouquet's curious reticence in this matter cannot have been owing to any consideration for Hogarth's old enemy, William Kent, for Kent had been dead seven years when the _Etat des Arts_ made its appearance.