Meanwhile, in France and other countries, by royal command, or at the expense of rich amateurs, important series of prints were being published in commemoration of public events, or in illustration of famous collections of painting and sculpture. The first of the latter order was the "Galerie de Versailles," begun by Charles Simoneau, continued by Massé, and only finished in 1752 after twenty-eight consecutive years of labour. It was speedily succeeded by the "Cabinet de Crozat" and the "Peintures de l'Hôtel Lambert;" and a little later the example of France was followed by other countries, and one after the other there appeared, in Italy, Germany, and England, the "Museo Pio Clementino," the "Dresden Gallery," the catalogue of the Bruhl collection, and the publications of Boydell--all such magnificent works as do honour to the second half of the eighteenth century. Finally, thanks to Vivarès and Balechou, the engraving of landscape began to rival historical engraving, to which it had before been considered as merely accessory. The honour of having created it belongs to the French. It is too often forgotten that they were the first to excel in it, and that but for the practice of Vivarès, England to whom the merit of initiative is usually attributed might never have boasted of Woollett and his pupils. Since Claude Lorraine and Gaspard Dughet, the French school had produced few painters of pure landscape--none of first-rate ability. The first to restore to the neglected art a something of its pristine brilliance was Joseph Vernet. An observer, but one rather clever than sincere, he is certainly wanting in the strength and gravity which are characteristics of the great masters. In his work there is more intelligence than deep feeling, and more elegance than true beauty. Like the descriptive poetry of the time, it shows us Nature a trifle too sleek and shiny, and a little over-emphasised; she is rather a theme for discourse than a model to be lovingly studied as a source of inspiration. Yet even where the truth is thus arbitrarily treated, it retains under Vernet's brush sufficient charm, if not to move, at least to interest and to please; so that the success of this brilliant artist, and the influence he exerted on the French school and on public taste, are easily understood.