After these come the advertisements of the Quack Doctors. Of the account of belles-lettres in 1754, two years after _Amelia_ and in the actual year of _Sir Charles Grandison_, M. Rouquet's report is not flattering:--"The presses of England, made celebrated by so many masterpieces of wit and science, now scarcely print anything but miserable and insipid romances, repulsive volumes, frigid and tedious letters, where the most tasteless puerility passes for wit and genius, and an inflamed imagination exerts itself under the pretext of forming manners." It is possible that the last lines are aimed at Richardson; certainly they describe the post-Richardsonian novel. But that the passage does not in any part refer to Fielding is clear from the fact that the writer presently praises _Joseph Andrews_, coupling it with _Gil Blas_. Mezzotint, Gem-cutting, Chasing (which serves to bring in M. Rouquet's countryman, Moser), Jewelry, China, (_i.e._ Chelsea ware) are all successfully treated with more or less minuteness, while, under Architecture, are described the eighteenth-century house, and the new bridge at Westminster of another Swiss, Labelye, who is not named: "The architect is a foreigner," says Rouquet, who considered he had been inadequately rewarded. "It must be confessed (he adds drily) that in England this is a lifelong disqualification." From Architecture the writer passes to the oratory of the Senate, the Pulpit and the Stage. In the last case exception is made for "_le celebre M. Garic_," whose only teacher is declared to be Nature. As regards the rest, M. Rouquet thus describes the prevailing style:--"The declamation of the English stage is turgid, full of affectation, and perpetually pompous. Among other peculiarities, it frequently admits a sort of dolorous exclamation,--a certain long-drawn tone of voice, so woeful and so lugubrious that it is impossible not to be depressed by it." This reads like a recollection of Quin in the Horatio of Rowe's _Fair Penitent_.