The delicacy of the work, in fine proofs, is beyond the power of any mechanical process to reproduce. Two pencil studies, formerly in the Macgeorge collection, are very interesting as showing Meryon’s conscientious method of preparation for this plate. He made one very highly finished drawing of all that is seen of the city of Paris down below, reserving blank spaces for the Stryge and for the Tour St. Jacques--there is also a trial state of the plate, showing that all this portion of the design was etched first, directly from this drawing--and then another equally finished drawing of the tower and the stone monster by themselves, with all the rest of the subject drawn in outline, probably traced from the first drawing. A drawing by Meryon of another of the monsters of Notre Dame, a monkey, with a set of verses written beside it, is reproduced in Bouvenne’s “Notes et Souvenirs.” Then follows _Le Petit Pont_ (plate 7), in which the twin towers of Notre-Dame, beautifully placed on the plate, surmount the long rows of houses on the Quai du Marché Neuf and dominate the whole composition. The outline drawing which Meryon made from the level of the shore, showing the towers very much lower, is reproduced in M. Delteil’s catalogue. _L’Arche du Pont Notre-Dame_ (plate 8), especially in the beautiful proofs on green paper, is one of the most charming of the whole series and free from any eccentricity. _La Galerie Notre-Dame_ (plate 9) is a very beautiful rendering of Gothic architecture, and a most delicate study of effects of light, direct and reflected. The impressions vary much, some being rich in tone and rather veiled, others clean wiped and of a silvery clearness. The highly finished drawing which Meryon etched almost in facsimile, only adding clouds in the sky, was in the Macgeorge collection. _La Rue des Mauvais Garçons_ (plate 10), which formed the _cul-de-lampe_ or tail-piece of the first _livraison_ of “Eaux-Fortes sur Paris,” has always impressed modern observers as one of the most powerful and impressive of the etchings, fraught with mystery, enigmatic, suggestive of long past tragedies. “Quel mortel habitait,” are the verses etched on the building, “En ce gîte si sombre? Qui donc là se cachait Dans la nuit et dans l’ombre?” Was it Virtue, in silent poverty; was it Crime? No answer to the riddle is attempted. The street exists no longer.