some consolation however left for me, in balancing this tremendous
denunciation by M. Licquet's eulogy of my good qualities--which a natural
diffidence impels me to quote in the original words of their author.

"A Dieu ne plaise, toutefois, que j'accuse ici LE COEUR de M. Dibdin.
Je n'ai jamais eu l'honneur de le voir: je ne le connais que par ses
ecrits; principalement par son _Splendid Tour_, et je ne balance pas à
déclarer que l'auteur doit être doué d'une ame honnête, et de ces
qualités fondamentales qui constituent l'homme de bien. Il préfère sa
croyance; mais il respecte la croyance des autres; son érudition
parait....[12] variée. Son amour pour les antiquités est immense; et
par antiquités j'entends ici tout ce qui est _antique_ ou seulement
_ancien_, quellesque soient d'ailleurs la nature et la forme des
objets." Pref. p. xv. xvij.

Once more; and to conclude with M. Licquet. After these general
observations upon the _Text_ of the Tour, M. Licquet favours us with the
following--upon the _Plates_. "These plates (says he) are intended to
represent some of the principal monuments; the most beautiful landscapes,
and the most remarkable persons, comprehending even the servants of an inn.
If _talent_ be sought in these Engravings, it will doubtless be found in
them; but strangers must not seek for _fidelity_ of representation from
what is before their eyes. The greater number of the Designs are, in some
sort, ideal compositions, which, by resembling every thing, resemble
nothing in particular: and it is worthy of remark that the Artist, in
imitation of the Author, seems to have thought that he had only to shew
himself _clever_, without troubling himself to be _faithful_." To this, I
reply in the very words of M. Licquet himself: "the decision is severe;
luckily it is unjust." The only portions of the designs of their skilful
author, which may be taxed with a tendency to extravagance, are the