Science does not make happiness, says the _Opera-Comique_, nor talent secure always success; to obtain the latter skill is often better than learning. Once at Paris, Salaville obtained an undisputed reputation, it is true; but he had not the requisite qualities, nor means to direct and maintain an _atélier_; nor did he find sufficient zeal and intelligence in his associates. Then the luxurious imagination he possessed, and which made him so remarkable, caused him to be restless and impatient under the lingering details which hang around the commencement of every undertaking. At last, in 1846, Salaville, stretched on a sick bed, tortured with pain, found himself poorer and more destitute than he was on the day of his arrival. Happily at this moment a situation was offered, which once more revived hope and trust in the breast of the almost discouraged artist. It may be that our readers think but little of square shawls and long shawls; however, they may not be ignorant of the fact that at the time of which I speak the manufacturers coped with each other in copying the Indian Cachemires for the designs of their shawls, which made a ruinous competition, for to obtain any success required great waste. Messrs. Boas, Brothers & Co., so distinguished for their rapid success in business, saw the inutility and folly of this, which is now admitted by every one; but they had the tact to see that in order to create a new style, it was necessary above all to procure an artist of the first order; their lucky stars placed in their hands Salaville, the one most capable of carrying out their plans. For four years these intelligent men have progressed, improving each other. The manufacturer, with tastes corrected and refined by the artist, has in turn softened the eccentricities and exaggerations of genius. That which makes the shawls of this house so remarkable now, is that their designs have an originality of conception, a freshness and gracefulness never seen before. The cause is easily explained. Salaville has abandoned the old styles, which are exhausted. He does not imitate the Arabic, nor the Indian, nor the style of the Restoration, nor the ornamental, but he throws upon paper a profusion of poetic reminiscences, fruits of his joyous wandering youth.