The only etchings of any importance that Meryon produced after his release from confinement are some of the last views of Paris, done at the time when he was retouching his old plates of Paris and making the, not very judicious, alterations which distinguish their latest states. The new ones are: _Rue Pirouette_ (1860, plate 36), _Tourelle de la rue de l’Ecole-de-Médecine_ (1861), which shows the house in which Marat was assassinated (plates 25, 26), _Rue des Chantres_ (1862, plates 27, 28), _Collège Henri IV_ (1864, plate 29), _Bain-froid Chevrier_ (1864, plate 30), _Le Ministère de la Marine_ (1866, plates 31, 32) and _L’ancien Louvre, vers 1650_ (1866, plate 38), in which, fulfilling a commission from the Chalcographie du Louvre, he returned to the study of his old love, Renier Zeeman. The _Rue des Chantres_ is incomparably the finest of these, but it can only be seen to real advantage in the very rare early states, one of which the British Museum possesses (plate 27), in which the spire, a recent addition to Notre-Dame designed by Viollet-le-Duc, soars into an empty sky, which was afterwards disfigured by the incongruous insertion of two bells and a device with the initials J. B. (plate 28). The streets of all the etchings of the sixties are filled with excited crowds or little groups of tall, unnatural looking people, and all kinds of curious monsters and allegorical figures hover in the sky or swoop in rapid flight across it. The _Collège Henri IV_ (plate 29) in some of its states, has for background a sea with sails and whales and sea-gods, and the figures in the foreground are the most extraordinary that Meryon ever drew. It is of no use to dwell at length on these symptoms of mental decline. The lonely artist, subject to hallucinations, thinking that Jesuits were watching him in every street, quarrelling with his best friends, who found it impossible to help him, almost starving because he thought it wrong to eat when others were in need, was no longer capable of the concentrated effort that had produced the masterpieces of the first half of the fifties. On October 12th, 1866, he was shut up again at Charenton, where he died on February 4th, 1868, and where a friend of his sailor days, De Salicis, pronounced an oration over his grave. Bracquemond etched, with a few symbolical ornaments, a copper plate to be laid on the slab of black Breton stone, resting on cubes on white stone, which covered his tomb.