No modern author could write on Meryon without acknowledging in the amplest terms, as I do, his indebtedness to M. Loys Delteil’s monograph on this great etcher in his _Peintre-Graveur Illustré_ (1907). The biography which precedes it, and the quotations which it gives from Baudelaire and Burty, and from Meryon’s own comments on what Burty wrote about Meryon, make M. Delteil’s volume much more than a catalogue. The other books that I have chiefly consulted are Burty’s Catalogue of Meryon, translated by M. B. Huish (1879), and Aglaüs Bouvenne’s “Notes et Souvenirs sur Charles Meryon” (1883.) I have had no access to original documents, except the chief documents of all, the etchings themselves, or to books not generally known; but there may be readers, perhaps, who will welcome a brief account in English of Meryon’s career, an estimate of his rank as an etcher, and comments on all of his etchings that they have any need to know and admire. The originals of all the etchings reproduced in the plates, except the portrait by Bracquemond, are in the British Museum. C. D. 5 September, 1921. ERRATUM.--_Page 23, line 18 from top, for “February 4th” read “February 14th.”_ THE ETCHINGS OF CHARLES MERYON INTRODUCTION. A century has passed since the birth of Meryon, a circumstance which excuses, if it does not actually demand, a survey in retrospect of the great etcher’s work and the growth of his renown. There is no indication, it must be said at once, that the lapse of time has weakened in any degree the sure fabric of his fame. About no other modern etcher, save Whistler, is there an equal consensus of opinion among those whose opinion counts, that he ranks among the great masters of his art. Whistler himself was a dissentient; he spoke one day to Mr. Wedmore of “Meryon, whom you have taken out of his comfortable place.” Without insinuating that he was jealous of a _confrère_ with whom he was forced to share the honour of a Wedmore catalogue, it may be remarked that the utterances of such a lover of paradox as Whistler need not be taken too seriously. Nor is an artist always the best judge of a fellow artist who pursues very different aims from his own. Meryon’s reputation, though it is ungrudgingly admitted and admired by most etchers of to-day and yesterday, was established by the critics and collectors of a generation now extinct. Philippe Burty, who published the first critical article on Meryon and the first catalogue of his etchings in the _Gazette des Beaux-Arts_ of 1863, was the first to discern clearly and to proclaim to the world his peculiar genius. Charles Baudelaire and Théophile Gautier added their words of praise and the _Galerie Notre-Dame_ evoked the enthusiasm of Victor Hugo. Bracquemond, by twelve years his junior in age but his contemporary in the practice and mastery of etching, gave