 Among the most famous of these connoisseurs were the financier Pierre Crozat and the Comte de Caylus. It was not enough for them to collect thousands of works; they were also involved with indexing and reproducing them through printmaking. The Recueil Crozat (1729 and 1742) is the true ancestor of art books and dictionaries devoted to fine arts, which began to multiply (see, e.g., Pernéty’s Dictionnaire portatif [1757], Watelet and Lévesque’s Dictionnaire des arts [1792], and especially Mariette’s Abecedario, posthumously published from 1851–1860). Catalogs began to proliferate and the first monographs appeared, among the most important being Recueil Julienne, Jean de Julienne’s collection of 271 engravings after Watteau’s paintings. Caylus and Dezallier d’Argenville also wrote about artists, sketched biographies and established rules for discerning the delicacy of style or the lightness of execution. All this took place in the larger context in which the cosmopolitan amateurs of different countries were able to easily travel abroad. (Such travels evolved into the ritual of the Grand Tour.)