_La Tour de l’Horloge_ (plate 11) was drawn and etched in 1852 while alterations were in progress which materially altered the appearance of Le Châtelet. This plate has always struck me as being a very straightforward and masterly portrait of a building, but without so much personal expression as Meryon generally contrived to impart to his other etchings. An edition of 600 copies of Delteil’s sixth state was published in _L’Artiste_ in 1858, and it was only after this large edition had been struck off that Meryon made a rather important change in the plate, which appears in the last two states, by making rays of light issue, somewhat unaccountably, from the windows between the high square tower and the first of the round ones. _Tourelle de la rue de la Tixéranderie_ (plate 12), also etched in 1852, was drawn just before its demolition. The etching gives a very beautiful effect of sunlight on a most picturesque old house, with the lower part of its turret wreathed in the foliage of a creeper; but the mediæval knight in helm and plumes, who rides along the street, and the nude woman standing in the doorway (in the first state) are curious additions to the scene. The latter figure was retouched in the final state. _Saint-Etienne-du-Mont_ (plate 13), also etched in 1852, is similar in style, as in dimensions, to the last subject. It gives, again, a beautiful effect of sunlight, and the architectural details of the church are shown with an exquisite clearness. The little figures are lively and interesting, but in the state here reproduced a blemish may be noticed; the raised arms of a workman on the scaffolding, near the gas lamp on the right, have been effaced, to be restored in the next state. _La Pompe Notre-Dame_ (plate 14), another plate belonging to the prolific year 1852, is one of the most picturesque etchings of the series. The proportions of the various masses of architecture to the oblong plate are perfectly satisfying, and the eye delights in the intricate lines, alternately light and dark, of the two wooden structures that rise out of the water like the piles of a “lake dwelling.” Meryon excuses himself, in an interesting letter, for making the towers of Notre-Dame higher than they should be, as actually seen from this point of view: “Les Tours saillent aussi un peu plus que dans la réalité; mais je considère que ce sont licenses permises, puisque c’est pour ainsi dire dans ce sens que travaille l’esprit, sitôt que l’objet qui l’a frappé a disparu de devant les yeux” (quoted by M. Loys Delteil from a letter to Paul Mantz). This plate was published in an edition of 600 by _L’Artiste_ in 1858; before that time the building itself had been demolished. Meryon alludes to the impending demolition in the rather insignificant little design, with some doggerel verses etched within it, known as _La Petite Pompe_ (plate 15), of 1854.