the subject. That noble manufactory has been carried on much to their honour and to the credit of this country; and too much praise cannot be bestowed on their imitations of Etruscan and other elegant vases and basso-relievos in black or variously coloured fine clays; but the writer of the catalogue has unluckily asserted that their impressions of Antique Gems are far above all other imitations; while it is evident that clays and their mixtures shrink, and consequently are far less proper for giving correct impressions than either wax, sulphur, plaister, metal or glass, and it must be evident that their being opaque and of a dull gloomy colour, cannot place them in competition with coloured glass impressions which equally imitate the brightness and transparency of the originals.'

The writer next remarks on the poverty of former collections of reproductions from antique gems. None of them, he informs us, included more than 3000 items; while Tassie's Catalogue of 1775 numbered 3106 examples, and his collection had since been increased to more than 12,000, 'containing besides those of Christian Dehn, Mademoiselle Feloix, and Lippert, the greater part of those that were collected by the Elder Baron Stosch, besides many noble cabinets in this and other kingdoms

to which former artists had no access, and modern works which other collectors had studiously neglected.'

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There follow some interesting particulars regarding the reproductions of gems sent to Russia: Her Imperial Majesty has ordered that a collection should be formed of perfect and durable impressions of ancient and modern gems, as complete and numerous as possible; secondly, that the gems from which they were taken, whether intaglios or cameos, should be executed in glass pastes, exactly imitating the respective colour of the originals; thirdly, that the collection should be scientifically arranged in suitable cabinets; and fourthly, described in a corresponding catalogue, in which notice should be taken of their respective subjects and all the particulars which can authenticate their history and point out their merit, to promote the study of antiquities and engraving.

'The impressions, being ordered to be made true and durable, were taken, not in wax, sulphur, plaister, metal or clay, but in a beautiful white enamel composition, which is not subject to shrink or form air bladders, but strikes fire with steel and takes a fine polish, which shows every stroke and touch of the art in higher perfection than any

other substance; and the pastes were cast and finished in coloured glass, imitating the original stone of the gem, when this could be ascertained.' They were arranged in cabinets 'executed by Mr. Roach, one of our best cabinetmakers, after the drawings of Mr. Wyat* [sic], whose taste as an architect is too well established in this kingdom to want any of our more perishable commendations. The elegance and simplicity of their forms, the propriety of their external ornaments, which were basso-relievos in white enamel, with gilt mouldings, set on a ground of green satinwood, and the high finishing of the whole qualified them at any rate for ornaments in the noble apartment of Her Imperial Majesty's superb palace of Czarsko Zelo, where they have been placed.'

Next comes a general 'Conspectus of the Arrangement and Description of the Collection,' and a 'Postcript,' dated 'Cowance, Jan. 3, 1786,' giving some extracts from Pliny relative to the

* James Wyatt, R.A., born 1748, died 1813, the architect of Fonthill Abbey. He succeeded Sir William Chambers as Surveyor-General in 1796; and so great was his reputation that the Empress Catherine wished him to settle in Russia as her architect. For a brief period he acted as President of the Royal Academy after West's temporary resignation in November 1805.

use of the drill and other tools by the ancient gem engravers.

The volume concludes with the following list of

'PRICES.

For Intaglio Pastes; the size of seals and rings from Is. 6d. to 2s. 6d.

A beautiful imitation of a fine stone is charged more, in proportion to its perfection.

For large Intaglios, according to the colour and size, from 5s. to 21s.

For Cameos, according to size and perfection, from 10s. 6d.

to 42s.

Appliquées (that is to say heads or figures glued to false grounds) are only deceptions, unsafe to use as rings, bracelets, etc., being liable to fall out and break, therefore only proper as pleasing ornaments or furniture; may be made from 5s. and upwards according to size. For relievo impressions in white enamel, from gems, Is. 6d. to 5s. From large gems in basso-relief; Portraits, etc., from 5s. to 21s., not exceeding 4 inches in diameter. Impressions of this size, in high relief, are charged in proportion to the difficulty.

Impressions in red or other coloured sulphur with neat gilt borders, select numbers, 4d. each. For the whole collection, 3d. each.'

Raspe's final catalogue of Tassie's works appeared in 1791:-'A Descriptive Catalogue of a General Collection of Ancient and Modern Engraved Gems, Cameos as well as Intaglios, taken from the most celebrated Cabinets in Europe; and cast in Coloured Pastes, White Enamel, and Sulphur, by James Tassie, Modeller;

arranged and described by R. E. Raspe; and illustrated with Copper - plates. To which is prefixed, an Introduction on the various uses of this Collection, the origin of the Art of Engraving on Hard Stones, and the Progress of Pastes. Unde prius multis velarunt tempora musæ. London: Printed for and sold by James Tassie, No. 20, Leicester-Fields; and J. Murray, Bookseller, No. 32, Fleet-Street. C. Buckton, Printer, Great Pultney Street. MDCCXCI.'

The catalogue is in two large quarto volumes, of nearly 800 pages in all; and, with its ‘Supplement,' includes 15,800 numbered items of reproduction from the antique. The 'Liste des Cabinets et Noms des Possesseurs' which it contains shows that the collections of considerably over five hundred owners of gems had been laid under contribution by Tassie in forming his great series of reproductions. A 'Postscript' states that 'since the Supplement to this Descriptive Catalogue was arranged and printed, the collection, numerous as it is, has already received valuable additions; and Mr. Tassie flatters himself that many fine articles will be still communicated to him'; he reports that the Earl of Carlisle had permitted him to cast his entire cabinet of more than 300 gems, that the Countess of Hopetoun, the Earl of