The third Bourges etching, _Ancienne habitation à Bourges_ (plate 41) was added much later, in 1860, and is in the style of some of the late Paris etchings, but not so good. The only other etchings that date from the period of the “Eaux-Fortes sur Paris” are the _Verses to Eugène Bléry_ (two different plates with the same contents, D. 88, 89) and the fine _Entrée du Couvent des Capucins à Athènes_ (plate 42), both etched in 1854. Though Meryon had drawn in early youth the Choragic Monument of Lysicrates which was then partly embedded in the buildings of the French Capuchins at Athens, though it was afterwards detached from the wall, his etching is copied from one of the plates by J. P. Le Bas in J. D. Le Roy’s “Ruines des plus beaux monuments de la Grèce,” Paris, 1758. It was about this time that Meryon began to etch plates of antiquarian interest from old drawings or prints. Though they were commissioned for illustrations, it is evident, among other things from a letter of Baudelaire’s written in 1860, that Meryon himself developed a rather tiresome habit of research, both pedantic and eccentric in its methods. One of the best of these derivative etchings, the _Salle des Pas-Perdus_ (plate 35), after Ducerceau, dates from 1855, and _Le Pont-Neuf et la Samaritaine_ (plate 33) and _Le Pont-au-Change vers 1784_ (plate 34) were also etched in the same year. They are fine etchings, but do not arouse the same interest as Meryon’s first-hand impressions of the Paris of his own day. _Le Château de Chenonceau_, also after Ducerceau, and etched in a very dry manner, is a plate of 1856, and in the same year he etched, from photographs, the large panoramic view of _San Francisco_. More typical Meryons are the two queer etchings of 1855 and 1856 called _La Loi Solaire_ and _La Loi Lunaire_, in which he propounded very crazy views on morality, one of them being that an upright posture is the proper attitude for sleep, a theory which he himself carried into practice in later years, by passing the night between two upright boards with his arms supported by loops of rope to keep him from falling. _Le Pilote de Tonga_, a prose poem in a frame, etched in 1856, is the first of what grew, in the sixties, into a long series of etchings founded on his sketches and reminiscences of his early voyage to the South Seas. These filled an even larger place in his thoughts in his last years, but it is to be feared that the etchings of these subjects, of which a few specimens are here reproduced (plates 43-46), leave posterity rather cold. THE LATE ETCHINGS