ings of the highest beauty are every
where to be met with. In his researches after these, Mr. Cotman had the
advantage of being assisted by the kindness of three of the most
distinguished antiquaries of the present day, M. le Prevost, M. Rondeau,
and M. de Gerville, but particularly by the last, whose friendly help
has likewise extended towards the preparing of the letter-press for many
of the articles from the western part of the province. It were
ungrateful not to acknowledge the assistance derived from Mr. Cohen, in
the same department. The value of his aid, which has been most freely
contributed, can be duly appreciated by those alone who have had
opportunities of judging of the accuracy and extent of his knowledge.

In the selection of subjects for engraving, attention has been
principally paid to two points, excellence in the objects themselves,
and certainty as to dates; but the greatest stress has been laid upon
the latter. The author of a work which professes to be in any degree
didactic, can never impress too strongly upon his mind the value of the
Roman precept, "prodesse quam delectare;" and an artist, accustomed by
his habits to the contemplation of the beautiful and the picturesque,
requires above all men to be warned on this head. Many of the buildings
here represented, might easily have been exchanged for others, more
perfect, more elegant, or more ornamented; but it is hoped that they
could not have been exchanged for those that would have been more
instructive. The main object of the publication has been to exhibit a
series of specimens of Norman architecture, as they actually exist in
Normandy itself; and, by taking those whose dates are best defined, to
enable the antiquary and the amateur of other countries, not only to
know the state of this extraordinary people, as to their arts, at the
epoch of their greatest glory, but also to compare what is in Normandy
with what they find at home. Another volume, devoted to the illustration
of the same description of architecture, in the south of France, in
Italy, and in Sicily, would fill a hiatus, whose existence has long been
regretted. In Germany, Denmark, and Sweden, it is to be feared that
little remains; and, thanks to the spirit of English artists and to the
patronage of the English public, what is in this country is already in
a great measure recorded. To an Englishman, it is hoped it may be a
source of venial self-congratulation, that the first public