M. Niel, librarian to the ministry of the Interior, an enlightened amateur of the arts and of history, has been engaged since 1848 in publishing a series of Portraits or “Crayons” of the celebrated personages of the sixteenth century, kings, queens, mistresses of kings, etc., the whole forming already a folio volume. M. Niel has applied himself in this collection to reproduce none but authentic portraits and solely from the original, and he has confined himself to a single form of portraiture, that which was drawn in crayons of divers colours by artists of the sixteenth century. “They designated in those days by the name of ‘crayons,’” he observes, “certain portraits executed on paper in red chalk, in black lead, and in white chalk, shaded and touched in a way to present the effect of painting.” These designs, faithfully reproduced, in which the red tone predominates, are for the most part originally due to unknown artists, who seem to have belonged to the true French lineage of art. They resemble the humble companions and followers of our chroniclers who simply sought in their rapid sketches to catch physiognomies, such as they saw them, with truth and candour; the likeness alone concerned them. François I. leads the procession with his obscure wives, and one, at least, of his obscure mistresses, the Comtesse de Châteaubriant. Henri II. succeeds him, giving one hand to Catherine de’ Medici, the other to Diane de Poitiers. We are shown a Marie Stuart, young, before and after her widowhood. In general, the men gain most from this rapid reproduction of feature; whereas with the women it needs an effort of the imagination to catch their delicacy and the flower of their beauty. Charles IX. at twelve years of age, and again at eighteen and twenty, is there to the life and caught from nature. Henri IV. is shown to us younger and fresher than as we are wont to see him,--a Henri de Navarre quite novel and before his beard grizzled. His first wife, Marguerite de Valois, is portrayed at her most beauteous age, but so masked by her costume and cramped in her ruff that we need to be aware of her charm to be certain that the doll-like figure had any. Gabrielle d’Estrées, who stands aloof, stiffly imprisoned in her gorgeous clothes, also needs explanation and reflection before she appears what she really was. The testimony of “Notices” aids these portraits; for M. Niel accompanies his personages with remarks made with erudition and an inquiring mind.