From the book "Edgar Allan Poe, Le Corbeau, translated by Stéphane Mallarmé (Paris: R. Lesclide, 1875)" For discussions about the technique of Manet’s “autographies,” see the argument that these works are possibly gillotages (or brush-and-ink transfer relief plates) rather than transfer lithographs first put forth by Douglas Druick and Peter Zegers, “Degas and the Printed Image, 1856-1914,” in Sue Welsh Reed and Barbara Stern Shapiro, eds., Edgar Degas: The Painted as Printmaker (Boston: Museum of the Fine Arts, 1984) and expanded upon by Jay McKean Fisher in his The Prints of Edouard Manet (Washington, D.C.: The International Exhibitions Foundation, 1985) and his "Manet's Illustrations for 'The Raven': Alternatives to Traditional Lithography," in Pat Gilmour, ed., Lasting Impressions: Lithography as Art (Canberra: Australian National Gallery, 1988). For reactions to Fisher’s proposal, see Barbara Stern Shapiro and Antony Griffiths, “Manet as Printmaker,” Print Quarterly Vol. 3 No. 2 (June 1986): 144-149, Pat Gilmour, “The Prints of Edouard Manet,” The Tamarind Papers Vol. 9 No. 2 (Fall 1986): 71-76, and “Manet Continued,” Print Quarterly Vol. 3 No. 4 (December 1986): 360-362.