,transcriber's ,note ,page #cj - ,chilaren changed to ,children ,it is noted that some of the plates are only showing part fractions - these have been left as printed4 ,,old ,,english ,,colour-,,prints ,,text ,,by ,,malcolm ,c4 ,,salaman 7,,author ,,of #8,,the ,,old ,,engravers ,,of ,,england'7 ,,edited ,,by ,,charles ,,holme ,,mcmix ,,offices ,,of #8,,the ,,studio' ,,london1 ,,paris ,,and ,,new ,,york ,,prefatory ,,note4 ,,list ,,of ,,illustrations4 ,,old ,,english ,,colour-,,prints4 ,,ii4 ,,iii4 ,,notes ,,on ,,the ,,illustrations4 ,,prefatory ,,note4 ,the ,editor desires to express his thanks to the following ,collectors who have kindly lent their prints for reproduction in this volume3--,mrs4 ,julia ,frankau1 ,mr4 ,frederick ,behrens1 ,major ,e4 ,f4 ,coates1 ,m4,p41 ,mr4 ,basil ,dighton1 ,mr4 ,j4 ,h4 ,edwards1 and ,sir ,spencer ,ponsonby-,fane1 ,p4,c41 ,g4,c4,b4 ,also to ,mr4 ,malcolm ,c4 ,salaman1 who1 in addition to contributing the letterpress1 has rendered valuable assistance in the preparation of the work4 ,,list ,,of ,,illustrations4 ,plate ,i4 8,jane1 ,countess of ,harrington1 ,lord ,viscount ,petersham and the ,hon4 ,lincoln ,stanhope40 ,stipple-,engraving by ,f4 ,bartolozzi1 ,r4,a41 after ,sir ,joshua ,reynolds1 ,p4,r4,a4 0 ,,ii4 8,robinetta40 ,stipple-,engraving by ,john ,jones1 after ,sir ,joshua ,reynolds1 ,p4,r4,a4 0 ,,iii4 8,master ,henry ,hoare40 ,stipple-,engraving by ,c4 ,wilkin1 after ,sir ,joshua ,reynolds1 ,p4,r4,a4 0 ,,iv4 8,the ,duchess of ,devonshire and ,lady ,georgiana ,cavendish40 ,mezzotint-,engraving by ,geo4 ,keating1 after ,sir ,joshua ,reynolds1 ,p4,r4,a4 0 ,v4 8,the ,mask40 ,stipple-,engraving by ,l4 ,schiavonetti1 after ,sir ,joshua ,reynolds1 ,p4,r4,a4 0 ,,vi4 8,bacchante0 7,lady ,hamilton74 ,stipple-,engraving by ,c4 ,knight1 after ,george ,romney4 0 ,,vii4 8,mrs4 ,jordan in the character of #8,the ,country ,girl'0 78,the ,romp074 ,stipple-,engraving by ,john ,ogborne1 after ,george ,romney4 0 ,,viii4 8,hobbinol and ,ganderetta40 ,stipple-,engraving by ,p4 ,w4 ,tomkins1 after ,thomas ,gainsborough1 ,r4,a4 0 ,,ix4 8,countess of ,oxford40 ,mezzotint-,engraving by ,s4 ,w4 ,reynolds1 after ,j4 ,hoppner1 ,r4,a4 0 ,x4 8,viscountess ,andover40 ,stipple-,engraving by ,c4 ,wilkin1 after ,j4 ,hoppner1 ,r4,a4 0 ,,xi4 8,the ,squire's ,door40 ,stipple-,engraving by ,b4 ,duterreau1 after ,george ,morland4 0 ,,xii4 8,the ,farmer's ,door40 ,stipple-,engraving by ,b4 ,duterreau1 after ,george ,morland4 0 ,,xiii4 8,a ,visit to the ,boarding ,school40 ,mezzotint-,engraving by ,w4 ,ward1 ,a4,r4,a41 after ,george ,morland4 0 ,,xiv4 8,st4 ,james's ,park40 ,stipple-,engraving by ,f4 ,d4 ,soiron1 after ,george ,morland4 0 ,,xv4 8,a ,tea ,garden40 ,stipple-,engraving by ,f4 ,d4 ,soiron1 after ,george ,morland4 0 ,,xvi4 8,the ,lass of ,livingstone40 ,stipple-,engraving by ,t4 ,gaugain1 after ,george ,morland4 0 ,,xvii4 8,rustic ,employment40 ,stipple-,engraving by ,j4 ,r4 ,smith1 after ,george ,morland4 0 ,,xviii4 8,the ,soliloquy40 ,stipple-,engraving by and after ,william ,ward1 ,a4,r4,a4 0 ,,xix4 8,harriet1 ,lady ,cockerell as a ,gipsy ,woman40 ,stipple-,engraving by ,j4 ,s4 ,agar1 after ,richard ,cosway1 ,r4,a4 0 ,,xx4 8,lady ,duncannon40 ,stipple-,engraving by ,f4 ,bartolozzi1 ,r4,a41 after ,john ,downman1 ,a4,r4,a4 0 ,,xxi4 8,cupid bound by ,nymphs40 ,stipple-,engraving by ,w4 ,w4 ,ryland1 after ,angelica ,kauffman1 ,r4,a4 0 ,,xxii4 8,rinaldo and ,armida40 ,stipple-,engraving by ,thos4 ,burke1 after ,angelica ,kauffman1 ,r4,a4 0 ,,xxiii4 8,angelica ,kauffman in the character of ,design listening to the ,inspiration of ,poetry40 ,stipple-,engraving by ,thos4 ,burke1 after ,angelica ,kauffman1 ,r4,a4 0 ,,xxiv4 8,love and ,beauty0 7,marchioness of ,townshend74 ,stipple-,engraving by ,thos4 ,cheesman1 after ,angelica ,kauffman1 ,r4,a4 0 ,,xxv4 8,two ,bunches a ,penny1 ,primroses0 78,cries of ,london074 ,stipple-,engraving by ,l4 ,schiavonetti1 after ,f4 ,wheatley1 ,r4,a4 0 ,,xxvi4 8,knives1 ,scissors and ,razors to ,grind0 78,cries of ,london074 ,stipple-,engraving by ,g4 ,vendramini1 after ,f4 ,wheatley1 ,r4,a4 0 ,,xxvii4 8,mrs4 ,crewe40 ,stipple-,engraving by ,thos4 ,watson1 after ,daniel ,gardner4 0 ,,xxviii4 8,the ,dance40 ,stipple-,engraving by ,f4 ,bartolozzi1 ,r4,a41 after ,h4 ,w4 ,bunbury4 0 ,,xxix4 8,morning ,employments40 ,stipple-,engraving by ,p4 ,w4 ,tomkins1 after ,h4 ,w4 ,bunbury4 0 ,,xxx4 8,the ,farm-,yard40 ,stipple-,engraving by ,william ,nutter1 after ,henry ,singleton4 0 ,,xxxi4 8,the ,vicar of the ,parish receiving his ,tithes40 ,stipple-,engraving by ,thos4 ,burke1 after ,henry ,singleton4 0 ,,xxxii4 8,the ,english ,dressing-,room40 ,stipple-,engraving by ,p4 ,w4 ,tomkins1 after ,chas4 ,ansell4 0 ,,xxxiii4 8,the ,french ,dressing-,room40 ,stipple-,engraving by ,p4 ,w4 ,tomkins1 after ,chas4 ,ansell4 0 ,,xxxiv4 8,january0 78,the ,months074 ,stipple-,engraving by ,f4 ,bartolozzi1 ,r4,a41 after ,wm4 ,hamilton1 ,r4,a4 0 ,,xxxv4 8,virtuous ,love0 7from ,thomson's 8,seasons074 ,stipple-,engraving by ,f4 ,bartolozzi1 ,r4,a41 after ,wm4 ,hamilton1 ,r4,a4 0 ,,xxxvi4 8,the ,chanters40 ,stipple-,engraving by ,j4 ,r4 ,smith1 after ,rev4 ,matthew ,w4 ,peters1 ,r4,a4 0 ,,xxxvii4 8,mdlle4 ,parisot40 ,stipple-,engraving by ,c4 ,turner1 ,a4,r4,a41 after ,j4 ,j4 ,masquerier4 0 ,,xxxviii4 8,maria40 ,stipple-,engraving by ,p4 ,w4 ,tomkins1 after ,j4 ,russell1 ,r4,a4 0 ,,xxxix4 8,commerce40 ,stipple-,engraving by ,m4 ,bovi1 after ,j4 ,b4 ,cipriani1 ,r4,a41 and ,f4 ,bartolozzi1 ,r4,a4 0 ,,xl4 8,the ,love-,letter40 ,stipple-,engraving1 probably by ,thos4 ,cheesman4 ,,old ,,english ,,colour-,,prints 8,other pictures we look at--his prints we read10 said ,charles ,lamb1 speaking with affectionate reverence of ,hogarth4 ,now1 after 8reading0 those wonderful ,progresses of the ,rake and the ,harlot1 which had for him all the effect of books1 intellectually vivid with human interest1 let us suppose our beloved essayist looking at those 8other pictures10 ,morland's 8,story of ,letitia0 series1 in ,john ,raphael ,smith's charming stipple-plates1 colour-printed for choice1 first issued while ,lamb was hardly in his teens4 ,though they might not be1 as in ,hogarth's prints1 8intense thinking faces10 expressive of 8permanent abiding ideas0 in which he would read ,letitia's world-old story1 ,lamb would doubtless look at these ,morland prints with a difference4 ,he would look at them with an interest awakened less by their not too poignant intention of dramatic pathos than by the charm of their simple pictorial appeal1 heightened by the dainty persuasion of colour4 ,there is a fascination about eighteenth-century prints which tempts me in fancy to picture the gentle ,elia stopping at every printseller's window that lay on his daily route to the ,east ,india ,house in ,leadenhall ,street4 ,how many these were might 8admit a wide solution10 since he arrived invariably late at the office2 but ,alderman ,boydell's in ,cheapside1 where the engraving art could be seen in its dignified variety and beauty1 and ,mr4 ,carington ,bowles's in ,st4 ,paul's ,churchyard1 with the humorous mezzotints1 plain and coloured1 must have stayed him long4 ,then1 surely among the old colour-prints which charm us to-day there were some that would make their contemporary appeal to ,elia's fancy1 as he would linger among the curious crowd outside the windows of ,mr4 ,j4 ,r4 ,smith in ,king ,street1 ,covent ,garden1 or ,mr4 ,macklin's ,poet's ,gallery in ,fleet ,street1 ,mr4 ,tomkins in ,bond ,street1 or ,mr4 ,colnaghi--,bartolozzi's 8much-beloved ,signor ,colnaghi0--in ,pall ,mall4 ,not arcadian scenes1 perhaps1 with 8flocks of silly sheep10 nor 8boys as infant ,bacchuses or ,jupiters10 nor even the beautiful ladies of rank and fashion2 but the ,cries of ,london at ,colnaghi's must have arrided so true a ,londoner1 and may we not imagine the relish with which ,lamb would stop to look at the prints of the players8 ,the ,downman ,mrs4 ,siddons1 say1 or the ,miss ,farren1 or that most joyous of ,romney prints1 ,mrs4 ,jordan as 8,the ,romp01 which would seem to give pictorial justification for ,lamb's own vivid reminiscence of the actress1 as his words lend almost the breath of life to the picture4 ,yet these had not then come to the dignity of 8old prints10 with a mellow lure of antique tone4 ,their beautiful soft paper--hand-made as a matter of course1 since there was no other--which we handle and hold up to the light with such sensitive reverence1 was not yet grown venerable from the touch of long-vanished hands4 ,they were as fresh as a busy industry of engravers1 printers1 and paper-makers could turn them out1 and of a contemporary popularity that died early of a plethora4 ,what1 then1 is their peculiar charm for us to-day1 those colour-prints of stipple or mezzotint engravings which pervaded the later years of the eighteenth century1 and the earliest of the nineteenth8 ,no serious student1 perhaps1 would accord them a very high or important place in the history of art4 ,yet a pleasant little corner of their own they certainly merit1 representing1 as they do1 a characteristic contemporary phase of popular taste1 and of artistic activity1 essentially ,english4 ,whatever may be thought of their intrinsic value as works of art1 there is no denying their special appeal of pictorial prettiness and sentiment and of dainty decorative charm4 ,nor1 to judge from the recent records of the sale-rooms1 would this appeal seem to be of any uncertain kind4 ,it has lately been eloquent enough to compete with the claims of artistic works of indisputable worth1 and those collectors who have heard it for the first time only during the last ten years or so have had to pay highly for their belated responsiveness4 ,those1 on the other hand1 who listened long ago to the gentle appeal of the old ,english colour-prints1 who listened before the market had heard it1 and1 loving them for their own pretty sakes1 or their old-time illustrative interest1 or their decorative accompaniment to ,sheraton and ,chippendale1 would pick them up in the printsellers' shops for equitable sums that would now be regarded as 8mere songs10 can to-day look round their walls at the rare and brilliant impressions of prints which first charmed them twenty or thirty years ago1 and smile contentedly at the inflated prices clamorous from ,christie's4 ,for nowadays the decorative legacy of the eighteenth century--a legacy of dignity1 elegance1 beauty1 charm--seems to involve ever-increasing legacy duties1 which must be paid ungrudgingly4 ,a collector1 whose house is permeated with the charm and beauty of eighteenth-century arts and crafts1 asked recently my advice as to what he should next begin to collect4 ,i suggested the original pictures of the more accomplished and promising of our younger living painters1 a comparatively inexpensive luxury4 ,he shook his head1 and1 before the evening1 a choice ,william ,ward1 exceptional in colour1 had proved irresistible4 ,yes1 it is a curious and noteworthy fact that the collector of old ,english colour-prints has rarely1 if ever1 any sympathy with modern art1 however fine1 however beautiful4 ,he will frankly admit this1 and1 while he tells you that he loves colour1 you discover that it is only colour which has acquired the mellowing charm of time and old associations4 ,so your colour-print collector will gladly buy a dainty drawing by ,downman1 delicately tinted on the back1 or a pastel by ,j4 ,r4 ,smith1 somewhat purple1 maybe1 in the flesh-tints1 while the sumptuous colouring of a ,brangwyn will rouse in him no desire for possession1 a ,lavery's harmonies will stir him not at all1 and the mystic beauty of tones in any ,late ,moonrise that a ,clausen may paint will say to him little or nothing4 ,but then1 one may ask1 why is he content with the simple colour-schemes of these dainty and engaging prints1 when the old ,japanese1 and still older ,chinese1 colour-prints offer wonderful and beautiful harmonies that no ,english colour-printer ever dreamt of8 ,and why1 if we chance to meet this lover of colour at the ,national ,gallery1 do we find him1 not revelling joyously in the marvellously rich1 luminous tones of a ,filippino ,lippi1 for example1 or the glorious hues of a ,titian1 but quietly happy in front of1 say1 ,morland's ,inside of a ,stable1 or ,reynolds's ,snake in the ,grass8 ,well1 we have only to pass a little while in his rooms1 looking at his prints in their appropriate environment of beautiful old furniture1 giving ourselves up to the pervading old-time atmosphere1 and we shall begin to understand him and sympathise with his consistency4 ,and1 as the spell works1 we shall find ourselves growing convinced that even a ,venice set of ,whistler etchings would seem decoratively incongruous amid those particular surroundings4 ,for it is the spell1 not of intrinsic artistic beauty1 but of the eighteenth century that is upon us4 ,it is the spell of a graceful period1 compact of charm1 elegance and sensibility1 that these pretty old colour-prints1 so typically ,english in subject and design1 cast over us as we look at them4 ,thus they present themselves to us1 not as so many mere engravings printed in varied hues1 but rather as so many pictorial messages--whispered smilingly1 some of them--from those years of ever-fascinating memory1 when the newly-born ,royal ,academy was focussing the artistic taste and accomplishment of the ,english people1 and ,reynolds1 ,gainsborough1 ,romney1 were translating the typical transient beauty in terms of enduring art1 while the great engravers were extending the painters' fame1 and the furniture-makers and all the craftsmen were supporting them with a new and a classic grace2 when ,johnson was talking stately1 inspiring common-sense1 ,goldsmith was 8writing like an angel10 and ,sheridan was 8catching the manners living as they rose02 when ,fanny ,burney was keeping her vivid diaries1 and ,walpole and ,mrs4 ,delany were--we thank ,providence--writing letters2 when the doings of the players at ,drury ,lane and ,covent ,garden1 or the fashionable revellers at ,ranelagh1 ,vauxhall1 and the ,pantheon1 were as momentous to 8the town0 as the debates at ,westminster1 and a lovely duchess could immortalise a parliamentary election with a democratic kiss4 ,these prints1 hinting of ,fielding and ,richardson1 ,goldsmith and ,sterne1 tell us that sentiment1 romantic1 rustic and domestic1 had become as fashionable as wit and elegance1 and far more popular2 while a spreading feeling for nature1 awakened by the poetry of ,thomson1 ,gray and ,collins1 and nurtured later by ,cowper1 ,crabbe and ,burns1 was forming a popular taste quite out of sympathy with the cold academic formalism and trammelled feeling of the age of ,pope4 ,these literary influences are important to consider for any true appreciation of these old colour-prints1 which1 being a reflex in every respect of the popular spirit and character of the period in which they were produced1 no other period could have bequeathed to us exactly as they are4 ,and it is especially interesting to remember this1 for1 from the widespread popularity of these very prints1 we may trace1 in the pictures their great vogue called for1 the origin of that abiding despot of popular ,english art which ,whistler has1 in his whimsical way1 defined as the 8,british ,subject40 ,that the evolution of the colour-print1 from its beginnings in chiaroscuro1 can boast a long and fascinating history has been proved to admiration in the romantic and informing pages of ,mrs4 ,frankau's 8,eighteenth-,century ,colour-,prints0--a pioneer volume2 but my present purpose is to tell the story only in so far as it concerns ,english art and taste4 ,now1 although during the seventeenth century we had in ,england a number of admirable and industrious engravers1 we hear of no attempts among them to print engravings in anything but monochrome2 so that1 if they heard of the colour-experiments of ,hercules ,seghers1 the ,dutch etcher1 whom ,rembrandt admired1 as doubtless they did hear1 considering how constant and friendly was their intercourse with the ,dutch and ,flemish painters and engravers1 none apparently thought it worth while to pursue the idea4 ,but1 after all1 ,seghers merely printed his etchings in one colour on a tinted paper1 which can hardly be described as real colour-printing2 and1 if there had been any artistic value in the notion1 would not the enterprising ,hollar have attempted some use of it8 ,nor were our ,english line-engravers moved by any rumours they may have heard1 or specimens they may have seen1 of the experiments in colour-printing1 made somewhere about #afhj1 by ,johannes ,teyler1 of ,nymegen in ,holland1 a painter1 engraver1 mathematical professor and military engineer4 ,his were unquestionably the first true colour-prints1 being impressions taken from one plate1 the engraved lines of which were carefully painted with inks of different hues2 and these prints may be seen in the ,british ,museum1 collected in all their numerous variety in the interesting and absolutely unique volume which ,teyler evidently1 to judge from the ornately engraved title-page1 designed to publish as 8,opus ,typochromaticum40 ,the experiment was of considerable interest1 but one has only to look at these colour-printed line-engravings1 with their crude juxtaposition of tints1 to feel thankful that our ,english line-engravers were not lured from their allegiance to the black and white proper to their art4 ,doubtless they recognised that colour was opposed to the very spirit of the line-engraver's art1 just as1 a hundred years later1 the stipple-engravers realised that it could often enhance the charm of their own4 ,in the black and white of a fine engraving there is a quality in the balancing of relative tones which in itself answers to the need of colour1 which1 in fact1 suggests colour to the imagination2 so the beauty and dignity of the graven line in a master's hands must repel any adventitious chromatic aid4 ,a ,faithorne print1 for instance1 with its lines and cross-hatchings in colours is inconceivable2 although one might complacently imagine ,francis ,place and ,gaywood having1 not inappropriately1 experimented with ,barlow's birds and beasts after the manner of those in ,teyler's book4 ,if1 however1 there were any ,english engravings of that period on which ,teyler's method of colour-printing might have been tried with any possibility of1 at least1 a popular success1 they were surely ,pierce ,tempest's curious ,cryes of the ,city of ,london1 after 8,old0 ,laroon's designs1 which antedated by just over a hundred years the charming ,wheatley 8,cries10 so familiar1 so desirable1 in coloured stipple4 ,but this was not to be1 and not until the new and facile mezzotint method had gradually over-shadowed in popularity the older and more laborious line-engraving was the first essay in colour-printing made in ,england4 ,in the year #agai came ,jacob ,christopher ,le ,blon with his new invention1 which he called 8,printing ,paintings40 ,this invention was in effect a process of taking separate impressions1 one over the other1 from three plates of a desired picture1 engraved in mezzotint1 strengthened with line and etching1 and severally inked each with the proportion of red1 yellow1 or blue1 which1 theorising according to ,newton1 ,le ,blon considered would go to make1 when blended1 the true colour-tones of any picture required4 ,in fact1 ,le ,blon practically anticipated the three-colour process of the present day2 but in #agai all the circumstances were against his success1 bravely and indefatigably as he fought for it1 influentially as he was supported4 ,jacob ,christopher ,le ,blon was a remarkable man1 whose ingenious mind and restless1 enthusiastic temperament led him through an artistic career of much adventure and many vicissitudes4 ,born in ,frankfort in #affg--when ,chinese artists were producing those marvels of colour-printing lately discovered by ,mr4 ,lawrence ,binyon in the ,british ,museum--he studied painting and engraving for a while with ,conrad ,meyer1 of ,zurich1 and subsequently in the studio of the famous ,carlo ,maratti at ,rome1 whither he had gone in #afif1 in the suite of ,count ,martinetz1 the ,french ,ambassador4 ,his studies seem to have been as desultory as his way of living4 ,his friend ,overbeck1 however1 recognising that ,le ,blon had talents which might develop with concentrated purpose1 induced him in #agjb to settle down in ,amsterdam and commence miniature-painter4 ,the pictures in little which he did for snuff-boxes1 bracelets1 and rings1 won him reputation and profit2 but the minute work affected his eyesight1 and instead he turned to portrait-painting in oils4 ,then the idea came to him of imitating oil-paintings by the colour-printing process1 based on ,newton's theory of the three-colour composition of light1 as ,i have described4 ,experimenting with promising results on paintings of his own1 he next attempted to reproduce the pictures of the ,italian masters1 from which1 under ,maratti's influence1 he had learnt the secrets of colour4 ,without revealing his process1 he showed his first 8printed paintings0 to several puzzled admirers1 among them ,prince ,eugne of ,savoy and1 it is said1 the famous ,earl of ,halifax1 ,newton's friend1 who invented the ,national ,debt and the ,bank of ,england4 ,but1 sanguine as ,le ,blon was that there was a fortune in his invention1 he could obtain for it neither a patent nor financial support1 though he tried for these at ,amsterdam1 the ,hague1 and ,paris4 ,his opportunity came1 however1 when he met with ,colonel ,sir ,john ,guise4 ,an enthusiastic connoisseur of art1 a collector of pictures 7he left his collection to ,christchurch ,college1 ,oxford71 an heroic soldier1 with a turn for fantastic exaggeration and romancing1 which moved even ,horace ,walpole to protest1 and call him 8madder than ever10 ,guise was just the man to be interested in the personality and the inventive schemes of ,le ,blon4 ,easily he persuaded the artist to come to ,london1 and1 through his introduction to many influential persons1 he enlisted for ,le ,blon the personal interest of the ,king1 who granted a royal patent1 and permitted his own portrait to be done by the new process1 of which this presentment of ,george ,i4 is certainly one of the most successful examples1 happiest in tone-harmony4 ,then1 in #agba1 a company was formed to work under the patent1 with an establishment known as the 8,picture ,office10 and ,le ,blon himself to direct operations4 ,everything promised well1 the public credit had just been restored after the ,south ,sea ,bubble1 the shares were taken up to a substantial extent1 and for a time all went well4 ,an interesting prospectus was issued1 with a list of colour-prints after pictures1 chiefly sacred and mythological1 by ,maratti1 ,annibale ,carracci1 ,titian1 ,correggio1 ,vandyck1 some of them being identical in size with the original paintings1 at such moderate prices as ten1 twelve1 and fifteen shillings4 ,lord ,percival1 ,pope's friend1 who1 like ,colonel ,guise1 had entered practically into the scheme1 was enthusiastic about the results4 ,sending some of the prints1 with the bill for them1 to his brother1 he wrote3 8,our modern painters can't come near it with their colours1 and if they attempt a copy make us pay as many guineas as now we pay shillings40 ,certainly1 if we compare ,le ,blon's ,madonna after ,baroccio--priced fifteen shillings in the prospectus--for instance1 with such an example of contemporary painting as that by ,sir ,james ,thornhill and his assistants1 taken from a house in ,leadenhall ,street1 and now at ,south ,kensington1 we may find some justification for ,lord ,percival's enthusiasm4 ,for colour quality there is1 perhaps1 little to choose between them1 but as a specimen of true colour-printing1 and the first of its kind1 that ,madonna is wonderful1 and ,i question whether1 in the later years1 there was any colour-printing of mezzotint to approach it in brilliance of tone4 ,then1 however1 accuracy of harmonies was assured by adopting ,robert ,laurie's method1 approved in #aggf1 of printing from a single plate1 warmed and lightly wiped after application of the coloured inks4 ,discouragement soon fell upon the ,picture ,office4 ,in ,march #agbb ,lord ,percival wrote3--8,the picture project has suffered under a great deal of mismanagement1 but yet improves much40 ,in spite of that improvement1 however1 a meeting of shareholders was held under the chairmanship of ,colonel ,guise1 and ,le ,blon's management was severely questioned4 ,the shareholders appear to have heckled him quite in the modern manner1 and he replied excitedly to every hostile statement that it was false4 ,but there was no getting away from figures4 ,at a cost of #e1jjj ,le ,blon had produced #d1jjj copies of his prints--these were from twenty-five plates--which1 if all had been sold at the prices fixed1 would have produced a net loss of #b1jjj4 ,even ,colonel ,guise could hardly consider these as satisfactory business methods1 and the company had already been reorganised1 with a new manager named ,guine1 who had introduced a cheaper and more profitable way of producing the prints4 ,it was all to no purpose4 ,prints to the value of only #fjj were sold at an expenditure of #i1jjj1 while the tapestry-weaving branch of the business--also ,le ,blon's scheme--showed an even more disproportionate result4 ,bankruptcy followed as a matter of course1 and ,le ,blon narrowly escaped imprisonment4 ,the colour-printing of engravings1 though artistically promising1 while still experimental1 had certainly proved a financial failure1 but ,le ,blon1 nothing daunted1 sought to explain and justify his principles and his practice in a little book1 called 8,coloritto1 or the ,harmony of ,colouring in ,painting1 reduced to mechanical practice1 under easy precepts1 and infallible rules40 ,this he dedicated to ,sir ,robert ,walpole1 hoping1 perhaps1 that the ,first ,lord of the ,treasury1 who had just restored the nation's credit1 might do something for an inventive artist's4 ,next he was privileged to submit his inventions to the august notice of the ,royal ,society4 ,le ,blon had always his opportunities1 an well a his rebuff from fortune1 but his faith in himself and his ideas was unswerving2 moreover1 he had the gift of transmitting this faith to others4 ,at last a scheme for imitating ,raphael's cartoons in tapestry1 carried on at works in ,chelsea1 led to further financial disaster and discredit1 and ,le ,blon was obliged to fly from ,england4 ,in ,paris he resumed his colour-printing1 inspiring and influencing many disciples and imitators1 among them ,jacques ,fabian ,gautier ,d',agoty1 who afterwards claimed to have invented ,le ,blon's process1 and transmitted it to his sons4 ,in ,paris1 in #agda1 ,le ,blon died1 very1 very poor1 but still working upon his copper-plates4 ,it was doubtless during ,le ,blon's last years in ,paris that ,horace ,walpole met him4 8,he was a ,fleming 7sic71 and very far from young when ,i knew him1 but of surprising vivacity and volubility1 and with a head admirably mechanic2 but an universal projector1 and with1 at least1 one of the qualities that attend that vocation1 either a dupe or a cheat3 ,i think the former1 though1 as most of his projects ended in the air1 the sufferers believed the latter4 ,as he was much an enthusiast1 perhaps like most enthusiasts he was both one and t'other40 ,as a matter of fact1 ,le ,blon was neither a dupe nor a cheat2 he was simply a pioneer with all the courage of his imagination and invention2 and no less an authority than ,herr ,hans ,w4 ,singer1 of ,vienna1 has considered him1 with all his failures and shortcomings1 of sufficient artistic importance to be worthy of a monograph4 ,if1 by a more judicious selection of pictures for copying1 ,le ,blon had been able to create a popular demand1 and to ensure general encouragement for his venture1 how different might have been the story of colour-printing1 how much fuller its annals4 ,for ,le ,blon's ultimate failure was not owing to the comparative impossibility or getting infallibly the required harmonics of his tones with only the three cardinal colours1 and the necessity to add a fourth plate with a qualifying black1 or to the difficulty in achieving the exactness of register essential to the perfect fusing of the tones of several plates4 ,those were serious obstacles1 certainly1 hindering complete artistic success2 but1 judging from the surprising excellence of the best of ,le ,blon's actual achievements1 they would doubtless have been surmounted for all practical purposes4 ,the real cause of the failure was1 ,i suggest1 that the pictures actually reproduced made no appeal to the people of ,england1 consequently there was no public demand for the prints4 ,it was a close time for the fine arts in this country4 ,the day of the public picture-exhibition was nearing1 but it had not yet arrived4 ,the aristocratic collector and the fashionable connoisseur represented the taste of the country1 for popular taste there was none4 ,romance and sentiment were quite out of fashion1 and the literature of the day was entirely opposed to them4 ,nor were there any living painters with even one touch of nature4 ,the reign of ,george ,i4 was indeed a depressing time for the graphic arts4 ,society1 heavily bewigged and monstrously behooped1 was too much concerned with its pastimes and intrigues1 its affectations1 caprices and extravagances1 to cultivate any taste or care for beauty4 ,kent1 the absurdly fashionable architect1 was ruling in place of the immortal ,wren1 and ,kneller was so long and so assuredly the pictorial idol of the country that ,pope1 its poet-in-chief1 could actually write of him that 8great ,nature fear'd he might outvie her works40 ,then1 all else of pictorial art meant either ,thornhill's wearisome ceilings and stair-cases1 or the stiff and tasteless portraiture1 with stereotyped posture1 of the lesser ,knellers1 such as ,jonathan ,richardson1 ,highmore1 and ,jervas1 whom ,pope made even more ridiculous by his praises4 ,with only such painters as these to interpret1 what chance had even such admirable engravers as ,john ,smith1 ,george ,white1 ,john ,simon1 ,faber1 ,peter ,pelham1 whose mezzotints even were beginning to wane in favour for lack of pictorial interest8 ,it is no great wonder then that1 seeing ,le ,blon's failure1 in spite of all his influence and achievement1 the engravers in mezzotint were not eager to try the principles of his 8,coloritto0 in their own practice1 and so colour-printing suffered a set-back in this country4 ,but ,le ,blon's prints are of great value to-day4 ,what1 then1 has become of those #i1jjj copies printed by the ,picture ,office8 ,the #fjj worth sold before the bankruptcy must have represented about a thousand1 yet these impressions from ,le ,blon's fifty-plates are of extreme rarity even in the museums of the world1 and it has been suggested by ,herr ,singer1 and also by ,mr4 ,a4 ,m4 ,hind1 in his valuable 8,history of ,engraving and ,etching10 that many copies of the large prints1 varnished over1 may be hanging in old houses under the guise of oil paintings1 thus fulfilling their original purpose4 ,it is an interesting conjecture1 and how plausible one may judge from the varnished copies in the ,british ,museum4 ,le ,blon's really important venture inspired no imitators in ,england1 but it was followed by a few experimental attempts to embellish engravings with colour4 ,these were chiefly adaptations of the old chiaroscuro method1 surface-colour being obtained by using several wood-blocks in combination with engraved copper-plates4 ,arthur ,pond and ,charles ,knapton1 painters both1 imitated a number of drawings in this manner1 the designs being etched2 while1 some years earlier1 ,elisha ,kirkall 78bounteous ,kirkall0 of the 8,dunciad07 had successfully used the coloured wood-blocks with mezzotint plates1 strengthened with etched and graven lines4 ,his pupil1 ,j4 ,b4 ,jackson1 however1 engraved only wood for his remarkable prints4 ,but these experiments were merely sporadic2 they led to nothing important and continuous in the way of colour-printing4 ,meanwhile1 the prints of ,hogarth1 with their marvellous pictorial invention1 mordant satire1 and moral illumination1 took the fancy of the town without the lure of colour1 and cultivated in the popular mind a new sense of picture1 concerned with the live human interest of the passing hour4 ,other line-engravers1 too1--,vivares1 ,woollett1 ,ravenet1 ,major1 ,strange1--with more masterly handling of the graver1 were1 through the new appeal of landscape1 or the beauties of ,rembrandt and the ,italian masters1 or the homely humours of ,dutch genre1 winning back the popular favour for their art4 ,though the call for the colour-print had not yet arrived1 the way was preparing for it4 ,with this widening public interest in pictorial art1 a dainty sense of tone was awakened by the porcelain now efflorescing all aver the country4 ,then1 when ,reynolds was bringing all the graces to his easel1 the urbane influence for beauty spread from the master's painting-room at #dg1 ,leicester ,fields--as the ,square was then called--to all the print-shops in town4 ,and the year--#agfd--that saw the death of ,hogarth was the year in which ,francesco ,bartolozzi came to ,england1 bringing with him into the engraving-world fresh influences of grace and delicacy which gradually ripened for colour4 ,,ii4 ,the sentimental mood for the storied picture was now being fostered by the universal reading of the novel1 which in its mid-eighteenth-century form gave its readers new experiences in the presentation of actual contemporary life1 with analysis of their feelings and cultivation of there sensibilities4 ,pamela and ,clarissa ,harlowe1 ,sophia ,western and ,amelia1 ,olivia1 ,maria1 were as living in interest as any of the beautiful high-born ladies whose portraits in mezzotint1 translated from the canvasses of the great painters1 appealed from the printsellers' windows in all the monochrome beauty of their medium4 ,the public1 steeped now in sentiment1 wanted to see their imaginary heroines in picture3 nor had they long to wait4 ,the ,royal ,academy had become a vital factor in forming public taste1 and the printsellers' shops were its mirrors4 ,but not all its members and exhibitors were ,gainsboroughs and ,reynoldses4 ,there were1 for instance1 ,angelica ,kauffman and ,cipriani1 with their seductive ,italian graces of design2 there was ,bartolozzi1 with his beautiful draughtsmanship1 and his brilliant facile craft on the copper-plate1 but the medium that should bring these into familiar touch with popular taste was still to seek4 ,however1 it was at hand1 and the man who found this medium1 and brought it to the service of popular art1 was ,william ,wynne ,ryland1 8engraver to the ,king40 ,whether the so-called crayon method of engraving1 in imitation of soft chalk drawings1 was invented by ,jean ,charles ,franois1 or ,gilles ,demarteau1 or ,louis ,bonnet--all three claimed the credit of it--it was1 at all events1 from ,franois1 whose claim had obtained official recognition1 that ,ryland1 the pupil of ,ravenet and ,le ,bas1 and1 in a measure1 of ,boucher1 learned the method while he was still a student in ,paris4 ,only later in his career1 however1 long after he had left behind him his student days in ,paris and ,rome1 and achieved prosperity in ,london as a line-engraver and printseller1 with royal patronage1 and with social success as a man of fashion and pleasure1 did he remember the process that ,franois had imparted to him4 ,then1 in his necessity1 when his extravagances had brought him to bankruptcy1 he called the dotted crayon manner to memory1 and saw in stipple-engraving1 if suitably employed1 a possible asset of importance4 ,compared with line and even with mezzotint it was a very easy and rapid way of engraving1 and though1 of course1 it could not compare with either in nobility1 richness and brilliance of effect1 ,ryland realised that its soft rendering of tones by artistically balanced masses of dots might be adapted to dainty and delicate drawings4 ,the most fortunate opportunity for proving this was at hand4 ,he had some personal acquaintance with ,angelica ,kauffman1 whom ,lady ,wentworth had brought to ,london some ten years before1 and whose beauty1 talents and personal charm had meanwhile made her a fashionable artistic idol1 with ,society and its beauties flocking to her studio to be painted or to buy her pictures4 ,having first tested his stippling with his own designs1 gracefully ,french in manner1 which he published soon afterwards as 8,domestic ,employments10 ,ryland suggested the idea of stipple-engraving to the sympathetic young painter4 ,when he had experimented with one or two of her drawings1 she gladly recognised that stipple was the very medium for the interpretation of her work to the public4 ,the first prints sold 8like wildfire10 and so satisfied was ,ryland of the profitable prospect1 that1 on the strength of it1 he promptly re-established himself in a printselling business at #aei1 ,strand4 ,his confidence was amply justified1 the public being quick to show their appreciation of the new method1 introduced as it was with all the persuasion of the fair ,angelica's graceful1 fanciful designs of classic story and allegory4 ,this was in #agge1 and within a very short time ,ryland found that1 rapidly as she designed and he engraved1 he could scarcely keep pace with the demand for these prints1 which1 the more readily to crave the popular fancy1 he printed in red ink1 to imitate red chalk1 later to be known as the 8,bartolozzi red40 ,ryland had called ,bartolozzi into consultation1 and the gifted ,italian engraver1 with his greater mastery of technique1 his delicate sense of beauty1 and his finer artistic perceptions1 had seen all that might be done with the new way of stipple2 he saw also its limitations4 ,with enthusiasm ,bartolozzi and ,ryland had worked together till they had evolved from the crayon manner of ,franois a process of engraving which proved so happily suited to the classes of fanciful and sentimental prints now fast becoming the vogue1 that it simply jumped into a popularity which no other medium of the engraver's art had ever attained4 ,the stipple method may be thus described4 ,the copper-plate was covered with an etching-ground1 on to which the outlined picture was transferred from paper4 ,then the contours of the design were lightly etched in a series of dots1 all the dark and middle shadows being rendered by larger or more closely etched dots1 the later engravers using even minute groups of dots4 ,this accomplished1 the acid was next applied with very great care1 and all the etched dots bitten in4 ,the waxen ground was then removed from the plate1 and the work with the dry-point and the curved stipple-graver was commenced4 ,with these tools the lighter shadows were accomplished1 and the bitten portions of the picture were deepened and strengthened wherever required1 to attain greater fulness or brilliance of effect4 ,engraving in dots was1 of course1 no new thing2 as an accessory to line-engraving it had often been called into service by the earlier artists4 ,giulio ,campagnola1 ,albert ,drer1 ,agostino ,veneziano1 ,ottavio ,leoni1 for example1 had used it2 we frequently find it employed by our own seventeenth-century line-men the better to suggest flesh-tones1 and ,ludwig von ,siegen1 in describing his invention of mezzotint in #afdb1 includes the 8dotted manner0 among the known forms of engraving4 ,then there was the opus mallei1 or method of punching dots in the plate with a mallet and awl1 which was successfully practised by ,jan ,lutma1 of ,amsterdam1 late in the seventeenth century4 ,this may be considered the true precursor of stipple1 just as the harpsichord1 with the same keyboard1 but a different manner of producing the notes1 was the precursor of the pianoforte2 but it must have been a very laborious process1 and ,lutma found few imitators4 ,under the gis of ,ryland and ,bartolozzi1 however1 and with the inspiration of ,angelica ,kauffman's 8harmonious but shackled fancy10 as a contemporary critic put it1 for its initial impetus1 stipple was developed as a separate and distinctive branch of the engraver's art4 ,its popularity was now to be further enhanced by the gentle and persuasive aid of colour4 ,ryland had seen many specimens of colour-printing in ,paris1 when he was with ,franois and with ,boucher2 he now bethought him that1 just as the public fancy had been captured by red-chalk imitations1 so might it be enchanted by engraved representations of water-colour drawings actually printed in colours4 ,angelica ,kauffman and ,bartolozzi eagerly encouraged the idea1 and the two engravers1 after many experiments1 determined the best process of colouring and printing from the plates4 ,apparently they rejected the multi-plate method tried six years previously by that interesting artist ,captain ,william ,baillie2 and ,ryland's earliest colour-prints were partially tinted only with red and blue4 ,mrs4 ,frankau tells us1 on the authority of a tradition handed down in his old age from ,james ,minasi1 one of ,bartolozzi's most trusted pupils1 that an ,alsatian named ,seigneuer was responsible for all the earlier colour-printed impressions of ,ryland's and ,bartolozzi's stipples after ,angelica ,kauffman and ,cipriani1 that then he set up on his own account as a colour-printer1 much recommended by ,bartolozzi1 and largely employed by the publishers1 and that his printing may be traced1 though unsigned1 by a transparency of tone due to the use of a certain vitreous white which he imported in a dry state from ,paris4 ,minasi must1 of course1 have been a perfect mine of ,bartolozzi traditions1 but when my father in his boyhood knew him and his musical son1 the distinguished engraver would talk of nothing but music1 for in #ahbi1 with steel plates superseding the copper1 and lithography triumphant1 there seemed no prospect that the coloured stipples1 already some time out of fashion1 would eighty years later be inspiring curiosity as to how they were done4 ,one sees1 of course1 many feeble colour-prints of the period1 which of old the undiscriminating public accepted as readily as to-day they buy1 for 8old prints10 modern cheap foreign reproductions which would disgrace a sixpenny 8summer number40 ,on the other hand1 the really fine examples of the old-time colour-printing1 combined with brilliant engraving--and1 of course1 only fine things are the true collector's desiderata1 irrespective of margins and 8state0 letterings1 and other foolish fads--are certainly works of art1 though a very delicate art of limited compass4 ,these colour-prints were done with a single printing1 and the plate had to be freshly inked for each impression4 ,the printer would have a water-colour drawing to work from1 and having decided upon the dominant tint1 with this he would ink over the whole engraved surface of the plate4 ,then he would wipe it almost entirely out of the incisions and punctures on the copper which had retained it1 leaving just a sufficient harmonising ground-tint for the various coloured inks1 carefully selected as to tints1 which were next applied in the exact order and degree to ensure the right harmonies4 ,all this required the nicest care directed by a very subtle sense of colour4 ,most difficult of all1 and reserved for the last stage of the inking1 was adding the flesh-tints1 an operation of extreme delicacy4 ,then1 before putting the plate in the printing-press1 it had to be warmed to the exact degree of sensitiveness which should help the colours to fuse with tenderness and softness1 without losing any brilliant quality of tone4 ,this was not the least anxious part of the work1 needing highly-trained artistic sensibility on the part of the printer4 ,how artistically important this matter of warming the plates must have been in printing a combination of coloured inks may be judged when ,i say that ,i have been privileged to watch ,whistler warming his etched plates ready for the printing-press1 and seen him actually quivering with excited sensibility as the plate seemed to respond sensitively to the exigence of his own exquisite sense of tone4 ,but1 of course1 no eighteenth-century colour-prints1 however charming in tone1 suggest that there were any ,whistlers engaged in the printing of them4 ,perhaps that is why our modern master of the copper-plate never cared for these dainty things1 as he did greatly care for ,japanese colour-prints4 ,the old printers1 however1 had their own definite manner of work1 and their own tricks of experience for producing pleasing and brilliant effects4 ,by the dusting of a little dry colour on to the moist1 here and there1 during the printing process1 they could heighten tones1 or by very1 very lightly dragging a piece of muslin over the surface of the plate they could persuade the tints to a more tender and harmonious intimacy4 ,of course1 when the plate was printed1 the colour was taken only by the dots and lines of the engraving1 the white paper peeping between4 ,if would-be buyers of colour-prints would only remember this simple fact1 and examine the stippling closely to see whether it really shows the colour1 they would not so constantly be deceived into buying entirely hand-coloured prints4 ,whether the old printers and engravers authorised and sponsored the touching-up of the prints with water-colour which one almost invariably finds1 at least to some slight extent1 even in the best examples1 with rare exceptions1 it is impossible to determine4 ,at all events1 it is presumable that the eyes and lips were touched up before the prints left the publishers' shops4 ,it must not be supposed1 however1 that colour had ousted from public favour the print in monochrome4 ,as a matter of fact1 it was usually only after the proofs and earlier brilliant impressions in monochrome had been worked off1 and the plate was beginning to look a little worn1 that the aid of colour was called in to give the print a fresh lease of popularity4 ,indeed1 with mezzotint a slightly worn plate generally took the colours most effectively4 ,this is why one sees so very seldom an engraver's proof in colours1 the extreme rarity of its appearance making always a red-letter moment at ,christie's4 ,therefore1 in spite of the ever-widening vogue of the colour-print1 it was always the artist and engraver that counted1 while the printer in colours was scarcely ever named4 ,and the new industry of stipple-engraving may be said to have been1 in its first days of popularity1 monopolised almost by ,ryland and ,bartolozzi1 in association with ,angelica ,kauffman and ,john ,baptist ,cipriani4 ,cipriani had1 by his elegant and tasteful designs1 won immediate favour on his arrival in ,england1 and even the ,lord ,mayor's coach was decorated with panels of his painting4 ,his style prepared the way for ,angelica ,kauffman1 and together they soon brought a new pictorial element to the service of home-decoration4 ,their graceful rhythmic treatment of classic fables was just what the brothers ,adam wanted for their decorative schemes1 and the two ,italian artists were extensively employed to paint panels for walls and ceilings4 ,in time the fair ,angelica outdistanced ,cipriani in popularity1 and1 painting panels for cabinets1 commodes1 pier-table tops1 and other pieces of decorative furniture1 her taste was soon dominating that of the fashionable world4 ,no wonder then that1 when ,ryland and ,bartolozzi1 through the medium of their facile and adaptable engravings1 made her charming1 if not flawlessly drawn1 compositions readily accessible1 the public eagerly bought them1 and1 framing them1 generally without any margin1 according to their own oval and circular forms1 found them the very mural adornments that the prevailing ,adam taste seemed to suggest4 ,in monochrome or in colours1 the prints1 with their refined and fluent fancies1 pictured from ,horace1 ,ovid1 ,virgil1 ,homer1 and ,angelica's beautiful face and figure vivid in several1 had an extraordinarily wide appeal4 ,they flattered the fashionable culture of the day1 when to quote ,horace familiarly in ordinary conversation was almost a patent of gentility4 ,on the continent they were even copied for the decoration of porcelain4 ,for ,ryland this meant another spell of prosperity3 it also meant disaster4 ,his constant thirst for pleasure1 and his ambition to shine as a fine gentleman1 stimulated by such easy and seemingly inexhaustible means of money-making1 led him into fatal extravagances4 ,accused of forging a bill1 instead of facing the charge1 of which he protested his innocence1 he stupidly hid himself and tried ineffectually to cut his own throat4 ,after that1 some flimsy evidence procured his condemnation1 and1 as ,william ,blake1 looking in ,ryland's face1 had predicted years before1 he was hanged at ,tyburn in #aghc4 ,they could have done no worse to a highwayman2 and1 after all1 by the introduction of stipple-engraving ,ryland had certainly increased the people's stock of harmless pleasure4 ,in his own stippling there was a delicacy of touch1 a smoothness of effect1 equal to ,bartolozzi's1 but with less tenderness and suppleness of tone4 ,evidently he formed his style to suit the designs of ,angelica ,kauffman1 which it rendered with appreciation of their refinement4 ,this will be seen in the charming ,cupid bound to a ,tree by ,nymphs1 among our illustrations1 and many other pleasing plates1 such as ,venus presenting ,helen to ,paris1 ,beauty crowned by ,love1 ,the ,judgment of ,paris1 ,ludit ,amabiliter1 ,o ,venus ,regina1 ,olim ,truncus1 ,dormio ,innocuus1 ,juno ,cestum1 ,maria1 from ,sterne's 8,sentimental ,journey10 for which ,miss ,benwell1 the painter1 is said to have sat2 ,patience and ,perseverance2 ,morning ,amusement1 a fanciful portrait of ,lady ,mary ,wortley ,montagu1 embroidering at a tambour-frame1 and wearing the ,turkish costume which she so graphically describes in one of her letters1 and in which ,kneller had painted her at the instigation of ,pope2 fancy portraits1 too1 of the adventurous ,lady ,hester ,stanhope1 and ,mary1 ,duchess of ,richmond4 ,although ,angelica ,kauffman had ,bartolozzi and his numerous disciple--which meant1 of course1 most of the best stipple-engravers of the day--at the service of her prolific pencil1 her favourite of all was ,thomas ,burke4 ,in this she proved her sound judgment1 for certainly no other stipple-engraver1 not ,bartolozzi himself1 could equal ,burke's poetic feeling upon the copper1 or surpass him in his artistic mastery of the medium4 ,after studying1 it is believed1 at the art school of the ,royal ,dublin ,society1 he came to ,london to learn mezzotint-engraving under his talented countryman1 ,john ,dixon1 who was winning reputation as one of ,reynolds's ablest 8immortalisers10 to borrow the master's own word4 ,burke soon showed that he could scrape a mezzotint with the best of them1 but the pupil's manner developed on his own lines1 differing from the master's in a more tender and luminous touch1 a greater suavity of tone4 ,these qualities are patent in his beautiful rendering of ,angelica ,kauffman's ,telemachus at the ,court of ,sparta1 and it was only natural that they should suggest his adopting the stipple method4 ,the technique he learnt from ,ryland1 and unquestionably he 8bettered the instruction40 ,the painter's sense of effect1 which ,dixon had taught him to translate into mezzotint1 was of incalculable value to him in his use of the new medium1 for1 by an individual manner of infinitely close stippling suggestive of the rich broad tone-surfaces of mezzotint1 he achieved1 perhaps1 the most brilliant and beautiful effects that stipple-engraving has ever produced4 ,burke1 in fact1 was an artist1 who1 seeing a picture1 realised how to interpret it on the copper-plate with the just expression of all its tone-beauties4 ,there is a glow about his engraving which shows the art of stipple at the very summit of its possibilities1 and1 happily1 brilliant impressions of several of his plates were printed in colours4 ,thus1 in such beautiful prints as ,lady ,rushout and ,daughter1 ,rinaldo and ,armida1 ,a ,flower painted by ,varelst1 ,angelica ,kauffman as ,design listening to the ,inspiration of ,poetry1 ,cupid and ,ganymede1 ,jupiter and ,calisto1 ,cupid binding ,aglaia1 ,una and ,abra1 to name1 perhaps1 the gems among ,burke's ,kauffman prints1 is shown what artistic results could be compassed when stipple-engraving and colour-printing met at their best4 ,if1 however1 ,angelica's engaging fantasies inspired ,burke to his masterpieces1 not less exquisite was his rendering of ,plimer's miniatures of the ,rushout daughters1 while his art could interpret with equal charm the homely idyllic picture1 as may be seen in the pretty ,favourite ,chickens--,saturday ,morning--,going to ,market1 after the popular ,w4 ,r4 ,bigg1 and ,the ,vicar of the ,parish receiving his ,tithes1 after ,singleton4 ,but there are pictures by the masters one would like ,burke to have engraved4 ,the strange thing is that he did not do them4 ,most of the engravers were now wooing the facile and profitable popularity of the stipple method and the colour-print and all the favourite painters of the day1 from the ,president of the ,royal ,academy to the lady amateur1 were taking advantage of the fashion4 ,the constancy and infinitude of the demand were so alluring1 and the popular taste1 never artistically very exacting1 had been flattered and coaxed into a mood which seemed very easy to please4 ,it asked only for the pretty thing4 ,sir ,joshua ,reynolds1 seeing1 doubtless1 what delicious and popular things ,bartolozzi had made of ,cipriani's ,cupids and ,graces1 was readily induced to lend himself1 in the lighter phases of his art1 to the copper-plates of the stipple-engravers1 pleasantly assisted by the colour-printer4 ,still leaving the more dignified and pictorially elaborate examples of his brush1 the beautiful1 elegant1 full-length portraits of lovely and distinguished women and notable men1 to the gracious interpretation of mezzotint1 which had served him so nobly and faithfully1 he found that1 in the hands of such artists on copper as ,bartolozzi1 ,john ,jones1 ,caroline ,watson1 ,wilkin1 ,cheesman1 ,dickinson1 ,nutter1 ,schiavonetti1 ,marcuard1 ,thomas ,watson1 ,john ,peter ,simon1 ,grozer1 ,collyer1 ,j4 ,r4 ,smith1 the delicate art of stipple could express all the sweetness1 tenderness1 and grace he intended in the pictures he enjoyed to paint of children and of girlish beauty4 ,so we have such delightful prints1 both in monochrome and in colour1 as the ,hon4 ,anne ,bingham and ,lavinia1 ,countess ,spencer1 ,lady ,betty ,foster1 ,the ,countess of ,harrington and ,children1 ,lady ,smyth and her ,children1 ,lord ,burghersh1 ,hon4 ,leicester ,stanhope1 ,simplicity 7,miss ,gwatkin71 ,the ,peniston ,lamb ,children1 all of ,bartolozzi's best2 ,lady ,cockburn and her ,children1 and ,master ,henry ,hoare1 the ,hon4 ,mrs4 ,stanhope as 8,contemplation10 ,lady ,beauchamp 7afterwards ,countess of ,hertford71 ,a ,bacchante 7,mrs4 ,hartley1 the actress1 and her child71 the ,spencer children in ,the ,mask1 and ,the ,fortune ,tellers1 ,miss ,elizabeth ,beauclerc 7,lady ,diana's daughter and ,topham ,beauclerc's7 as 8,una10 ,muscipula1 ,robinetta1 ,felina1 ,collina1 ,the ,sleeping ,girl1 ,infancy1 ,lady ,catherine ,manners1 ,the ,reverie1 ,lord ,grantham and his ,brothers1 ,mrs4 ,sheridan as 8,st4 ,cecilia10 ,maternal ,affection 7,lady ,melbourne and child71 ,perdita 7,mrs4 ,robinson71 ,mrs4 ,abington as 8,roxalana10 ,the ,age of ,innocence1 ,the ,infant ,academy1 ,the ,snake in the ,grass--but the list is endless4 ,all collectors of colour-prints know how desirable these ,reynolds' stipples are to charm their walls withal1 but almost unique must be the collector who can also hang among them ,keating's joyous mezzotint of ,reynolds's famous portrait of the ,duchess of ,devonshire and her baby daughter1 printed in colours4 ,this is one of those rare examples which1 with ,j4 ,r4 ,smith's ,bacchante and ,nature 7,lady ,hamilton71 ,henry ,meyer's ,nature too1 some of the ,morland prints by the ,wards1 ,smith1 and ,keating2 ,s4 ,w4 ,reynolds's ,countess of ,oxford1 ,j4 ,r4 ,smith's ,mrs4 ,bouverie1 and a few other important ,hoppner prints1 ,c4 ,turner's ,penn ,family1 after ,reynolds1 ,smith's ,synnot ,children1 after ,wright of ,derby1 and ,mrs4 ,robinson1 after ,romney1 prove that1 in the hands of an engraver with a painter's eye1 mezzotint could respond to the coloured inks as harmoniously and charmingly as stipple4 ,gainsborough--at least1 the ,gainsborough of unapproachable mastery and inimitable beauty1 the greatest glory of our eighteenth century art--seems to have been beyond the colour-printer's ambition4 ,with the exception of the ,hobbinol and ,ganderetta 7,tomkins71 reproduced here1 and the ,lavinia 7,bartolozzi71 both of which were painted for ,macklin's 8,british ,poets10 ,i doubt if anything important of ,gainsborough's was reproduced in coloured stipple1 and1 of course1 these things cannot be said adequately to represent the master2 while1 as to mezzotint1 ,w4 ,whiston ,barney's version of ,gainsborough's ,duchess of ,devonshire was1 ,i understand1 printed in colours1 though impressions are extremely rare4 ,romney's exquisite art1 on the other hand1 with its gracious simplicity of beauty1 lent itself more readily to the colour-printed copper-plate4 ,among the numberless tinted engravings with which the small-paned windows of the eighteenth-century print-shops were crowded1 none ingratiated themselves more with the connoisseurs than the ,romneys4 ,so1 in any representative collections of colour-prints to-day1 among the finest and most greatly prized examples must be the lovely ,emma and ,serena 7,miss ,sneyd7 of ,john ,jones1 ,mrs4 ,jordan as 8,the ,romp0 of ,ogborne1 ,miss ,lucy ,vernon as 8,the ,seamstress10 and ,lady ,hamilton as 8,the ,spinster0 of ,cheesman1 the beautiful ,emma also as a 8,bacchante0 by ,knight1 as 8,sensibility0 by ,earlom1 and as 8,nature0 in the two mezzotint versions1 just mentioned1 by ,j4 ,r4 ,smith and ,henry ,meyer4 ,of course the pictorial miniatures of the fashionable ,richard ,cosway1 with their light1 bright scheme of draughtsmanship1 their dainty tints1 their soft and sinuous graces1 their delicate decision of character1 were exceedingly happy in the stipple-engraver's hands4 ,in colour the prints had a charm of reticence which was peculiarly persuasive4 ,several of the most engaging were done by the artistic ,cond1 such at ,mrs4 ,bouverie1 ,mrs4 ,tickell1 ,mrs4 ,jackson1 ,mrs4 ,fitzherbert1 ,mrs4 ,robinson as 8,melania01 and the beautiful youth ,horace ,beckford2 ,j4 ,s4 ,agar did delicately ,harriet1 ,lady ,cockerell1 as a ,gipsy ,woman1 ,lady ,heathcote1 and ,mrs4 ,duff2 ,cardon1 with his distinguished touch1 engraved the charming ,madame ,rcamier1 ,schiavonetti the ,mrs4 ,maria ,cosway and ,michel and ,isabella ,oginesy1 ,bartolozzi the ,mrs4 ,harding1 ,mariano ,bovi the ,lady ,diana ,sinclair1 and ,charles ,white the pretty ,infancy 7,lord ,radnor's children74 ,only less fashionable than ,cosway's were the miniatures of ,samuel ,shelley4 ,in portrait-manner1 and in fanciful composition1 ,reynolds was his model and inspiration1 but the result1 in spite of high finish and a certain charm of elegance1 was a very little ,reynolds1 for ,shelley's drawing generally left something for criticism4 ,naturally1 miniature-painting found happy interpretation in coloured stipple1 and ,shelley was fortunate in his engravers1 especially ,caroline ,watson1 with her exquisite delicacy and brilliantly minute finish1 and ,william ,nutter1 who was equally at home with the styles of many painters4 ,an artist whose dainty and original manner of portraiture1 enjoying a great vogue in its day1 was also particularly well suited to the tinted stipple was ,john ,downman4 ,a man of interesting personality and individual talent1 he began1 as a pupil and favourite of ,benjamin ,west1 to take himself seriously and ambitiously as an 8historical painter10 to borrow a definition of the period4 ,indeed1 after he had won a fashionable reputation for the singular charm and style of his portraits1 and become an ,a4,r4,a41 we find a contemporary critic of the ,royal ,academy exhibition of #agif confessing surprise at seeing a scriptural subject painted with such exceptional care and simplicity of expression by 8a hand accustomed to delineate the polished and artificial beauties of a great metropolis40 ,but it was to these portrait-drawings that the artist owed his popularity1 and these and the engravings of them1 neglected for three-quarters of a century1 are the things that to-day make ,downman a name to conjure with among collectors4 ,his portraits1 exceptionally happy in their suggestion of spontaneous impression and genial intuition of character1 were drawn with pencil1 or with finely-pointed black chalk or charcoal4 ,the light tinting of hair1 cheeks1 lips and eyes1 with the more definite colouring1 in the case of the female portraits1 of an invariable sash and ribbon on a white dress1 was effected in a manner peculiar to himself4 ,instead of the usual way1 the colour was put on the back of the drawing1 and showed through the specially thin paper he used with softened effect4 ,how he happened upon this method of tinting his drawings is rather a romantic story4 ,seized by the press-gang and taken to sea1 about the beginning of the ,american ,war of ,independence1 he was kept abroad for nearly two years1 and when1 at last1 he managed to return to ,england he found his wife and children in a state of destitution at ,cambridge4 ,there his happy gift of portraiture brought him a livelihood4 ,one day he left by chance a drawing face downward upon the table1 and one of his children began daubing some pink paint on what was seemingly a blank piece of paper4 ,downman1 finding his drawing with daubs upon the back1 perceived delicate tints upon the face1 and so he looked with a discoverer's eye1 and thought the thing out2 and the novel way he had accidentally found of transparently tinting his drawings proved his way to prosperity4 ,it introduced him into the houses of the socially great to the royal palace even1 and the fashionable beauties of the day1 as well as those who would have liked to be fashionable beauties1 and the favourite actresses1 all readily offered their countenances to ,downman's charming pencil1 knowing it would lend them the air of happy young girls4 ,of course there was a willing market for prints from these gladsome and novel presentations of faces which the people seemed never to tire of2 so among the collector's prizes to-day are the ,mrs4 ,siddons by ,tomkins1 the ,duchess of ,devonshire and the ,viscountess ,duncannon by ,bartolozzi1 ,lady ,elizabeth ,foster by ,caroline ,watson1 ,miss ,farren 7,countess of ,derby7 by ,collyer1 and ,frances ,kemble by ,john ,jones4 ,the social reign of the ,court beauties lasted over a long period1 and survived many changes of fashion1 from the macaroni absurdities and monstrous headdresses to the simple muslin gown and the straw 8picture0 hat4 ,the days of 8those goddesses the ,gunnings0 seemed to have come again when the three rival ,duchesses1 ,devonshire1 ,rutland1 and ,gordon1 were the autocrats of 8the ton10 ruling the modish world not only with the sovereignty of their beauty1 elegance1 wit and charm1 but with the fascinating audacity of their innovations and the outvieing heights of their feathers4 8,come1 ,paris1 leave your hills and dells1 ,you'll scorn your dowdy goddesses1 ,if you once see our ,english belles1 ,for all their gowns and boddices4 ,here's ,juno ,devon all sublime2 ,minerva ,gordon's wit and eyes2 ,sweet ,rutland1 ,venus in her prime2 ,you'll die before you give the prize40 ,so sang the enthusiastic poet2 though the 8satirical rogues0 who wrote squibs and drew caricatures were not quite so kind1 and a writer in the 8,morning ,post10 with a whimsical turn for statistics1 actually drew up a 8,scale of ,bon ,ton10 showing1 in a round dozen of the leading beauties of the day the relative proportions in which they possessed beauty1 figure1 elegance1 wit1 sense1 grace1 expression1 sensibility1 and principles4 ,it is an amusing list1 in which we find the lovely ,mrs4 ,crewe1 for instance1 credited with almost the maximum for beauty1 but no grace at all2 the ,countess of ,jersey with plenty of beauty1 grace and expression1 but neither sense nor principles2 the ,duchess of ,devonshire with more principles than beauty1 and more figure than either2 her ,grace of ,gordon with her elegance at zero1 and the ,countess of ,barrymore supreme in all the feminine attractions4 ,when personal gossip about these fashionable beauties was rampant upon every tongue2 when the first appearance of one of them in a new mode was enough to ensure her being enviously or admiringly mobbed in the ,mall1 naturally the portrait-prints in colour responded to the general curiosity4 ,but there was a public which1 having other pictorial fancies than portraiture1 even pretty faces could not satisfy without the association of sentiment and story4 ,so there were painters who1 recognising this1 furnished the engravers with the popular subject-picture4 ,it was well for their link with posterity that they did so1 for how many of them would be remembered to-day were it not for these prints8 ,one of the most prominent was ,william ,redmore ,bigg1 who won a great popularity by painting1 with the imagination of a country parson1 simple incidents of rustic and domestic life1 charged with the most obvious sentiment4 ,the people took these pictures to their hearts1 and they were a gold-mine to the engravers4 ,as to their artistic qualities we have little opportunity of judging to-day except through the familiar prints4 ,these are innumerable1 and they all have a conventional prettiness4 ,in colours the most pleasing1 perhaps1 are the ,saturday ,morning of ,burke1 the ,saturday ,evening and ,sunday ,morning of ,nutter2 ,dulce ,domum and ,black ,monday of ,john ,jones2 ,romps and ,truants of ,william ,ward2 ,shelling ,peas and ,the ,hop ,picker of ,tomkins2 ,college ,breakfast1 ,college ,supper1 and ,rural ,misfortunes of ,ogborne1 ,the ,sailor ,boy's ,return and ,the ,shipwrecked ,sailor ,boy of ,gaugain4 ,then there was ,william ,hamilton1 a prolific and prevalent artist4 ,sent to ,italy in his youth by ,robert ,adam1 the architect1 he returned with a sort of ,italianate style of storied design1 classical1 historical1 allegorical1 conventional2 but1 happily1 he developed a light1 pretty and decorative manner of treating simple familiar subjects1 which was pleasing alike to engravers and public4 ,the charming plates from ,thomson's ,seasons1 engraved by ,tomkins and ,bartolozzi2 the graceful set of ,the ,months by ,bartolozzi and ,gardiner2 the idyllic ,morning and ,evening by ,tomkins1 with ,noon and ,night by ,delattre1 the numerous designs of children at play1 such as ,summer's ,amusement1 ,winter's ,amusement1 ,how ,smooth1 ,brother6 feel again1 ,the ,castle in ,danger1 by ,gaugain2 ,breaking-up and ,the ,masquerade by ,nutter2 ,blind ,man's ,buff and ,sea-,saw1 ,children feeding ,fowls1 ,children playing with a ,bird1 by ,knight2 ,playing at ,hot ,cockles1 and others by ,bartolozzi3 these are among the prettiest colour-prints of the period and the most valued to-day--especially ,the ,months4 ,hamilton's work just synchronised with the popular vogue for the coloured stipple1 and without these prints how much should we know of an artist so esteemed in his day1 and so industrious8 ,one might almost ask the same of ,francis ,wheatley1 whose popularity also survives but through the engraver's medium4 ,it was only after his return from ,dublin1 where he might have continued to the end as a prosperous portrait-painter had not ,dublin society discovered that the lady it had welcomed as ,mrs4 ,wheatley was somebody else's wife1 that ,wheatley began painting those idealised urban1 rustic1 and domestic subjects1 which gave him such contemporary vogue and led to his prompt admission among the ,royal ,academicians4 ,had he never painted anything else he would always be remembered by his thirteen ,cries of ,london1 published by ,colnaghi at intervals between #agic and #agig1 and so familiar to us through the accomplished copper-plates of the ,schiavonetti brothers1 ,vendramini1 ,gaugain and ,cardon1 though1 alas6 so wretchedly hackneyed through the innumerable paltry reproductions4 ,but what a fascinating1 interesting set of prints it is6 ,how redolent of old lavender6 ,how clean1 serene1 and country-town-like the ,london streets appear2 how sweet and fragrant they seem to smell2 how idyllic the life in them6 ,as one looks at these prints one can almost fancy one hears the old cries echoing through those quiet ,georgian streets4 ,perhaps the ,london streets of #agie were not quite so dainty as ,wheatley's sympathetic pencil makes them look to have been4 ,but1 remember1 that in those days lovely ladies in muslin frocks and printed calicoes of the new fashion1 who had sat to ,reynolds1 and whose portraits were in the print-shop windows1 were still being carried in the leisurely sedan-chair1 and there were many pretty airs and graces to be seen2 while in those streets1 too1 the youthful ,turner was seeing atmosphere and feeling his graphic way to immortality1 and young ,charles ,lamb was walking about1 8lending his heart with usury0 to all the humanity he saw in those very streets which these ,wheatley prints keep so fragrant4 ,of the numberless other colour-prints after ,wheatley perhaps the most valued to-day are1 in mezzotint1 ,the ,disaster1 ,the ,soldier's ,return and ,the ,sailor's ,return1 by ,william ,ward1 ,the ,smitten ,clown1 by ,s4 ,w4 ,reynolds2 in stipple1 the ,summer and ,winter of the ,bartolozzi 8,season0 set1 of which ,westall did the ,spring and ,autumn2 ,the ,cottage ,door and ,the ,school ,door1 by ,keating2 ,setting out to the ,fair and ,the ,fairings1 by ,j4 ,eginton1 and the pretty ,little ,turkey ,cock by ,delattre1 all admirable examples of the kind of art that made ,wheatley's reputation4 ,the pleasant uninspired rusticities and sentimentalities of ,henry ,singleton were to popular as to engage the abilities of some of the leading engravers1 who must certainly have made the best of them for the colour-printer1 since ,singleton's colouring was accounted poor even in his own day4 ,among the most taking examples we have ,nutter's pretty pair ,the ,farmyard and ,the ,ale-house ,door1 ,burke's ,vicar of the ,parish1 ,eginton's ,ballad-,singer1 ,knight's ,british ,plenty and ,scarcity in ,india1 some children subjects by ,meadows and ,benedetti1 and ,e4 ,scott's ,lingo and ,cowslip1 which shows that genuinely comic actor1 ,john ,edwin1 and that audaciously eccentric and adventurous actress1 ,mrs4 ,wells1 in ,o',keefe's notorious ,haymarket farce1 8,the ,agreeable ,surprise10 a group which ,downman also pictured1 though with infinitely more spirit and character4 ,subjects dealing with childhood were still greatly in demand1 but the public now wanted the children to be more grown-up1 and more mundane than the cupids and cherubim of ,cipriani1 or the ,baby ,loves and ,bacchanals of ,lady ,diana ,beauclerc1 so admired by ,horace ,walpole1 and so much flattered by the engravings of ,bartolozzi1 ,tomkins and ,bovi4 ,the prolific ,richard ,westall was not behind his brother ,academicians in adapting his inspiration to the market1 so1 combining rural fancy1 as required1 with the sentiment of child-life1 he made many a parlour look homelier with his pleasant1 plausible picturings4 ,when the charm of the engraving glossed over the weaknesses1 and colour-printing added its enticing advocacy under ,westall's personal direction1 we can find some justification for their popularity in such prints as ,nutter's ,the ,rosebud1 ,the ,sensitive ,plant1 and ,cupid ,sleeping2 ,josi's ,innocent ,mischief1 ,innocent ,revenge1 and ,schiavonetti's ,the ,ghost1 a pretty but unequal companion to ,the ,mask of ,reynolds4 ,although at this productive period of the colour-print ,william ,blake's 8,songs of ,innocence0 were issued1 with their sweetly pictured pages of uniquely printed colour1 and their magic simplicity of poetry1 every page having 8the smell of ,april0 as ,swinburne said1 it does not appear that they exercised any imaginative influence on the artists who were producing children subjects for the popular prints4 ,yet certainly poetic sentiment informed the grace and charm which were the characteristics of ,thomas ,stothard1 whose prodigiously industrious and productive pencil dominated in a great measure the book-illustration of the day4 ,five thousand designs are credited to him1 and ,blake himself engraved some of these in stipple2 but our present concern with ,stothard is in such engaging colour-prints as ,knight's ,fifth of ,november1 ,feeding ,chickens1 ,the ,dunce ,disgraced1 ,the ,scholar ,rewarded1 ,coming from ,school1 and ,buffet the ,bear1 ,runaway ,love1 ,rosina1 ,flora1 and the popular ,sweet ,poll of ,plymouth1 ,nutter's ,first ,bite1 and ,just ,breeched2 ,strutt's ,nurs'd at ,home and ,nurs'd ,abroad1 and others of more adult interest too numerous to mention4 ,another popular favourite with the buyers of colour-prints was the ,rev4 ,matthew4 ,william ,peters1 the only clergyman who ever wore the dignities of the ,royal ,academy1 though1 as a matter of fact1 it was only after he had attained full academic honours that he took holy orders4 ,eventually1 after some successful years with portraiture and fancy subjects1 he resigned his ,r4,a4'ship2 but it must be said that while he was painting for popularity there was a good deal of the 8world and the flesh0 about his pictures1 albeit his was a very winsome view of both1 to wit1 the seductively pretty ,sylvia and ,lydia1 by ,dickinson2 ,white's ,love and ,the ,enraptured ,youth2 ,john ,peter ,simon's ,much ,ado about ,nothing2 ,hogg's ,sophia1 and ,j4 ,r1 ,smith's ,the ,chanters4 ,the ,three ,holy ,children in ,simon's print1 however1 shows ,peters more as we may imagine him in the light of a 8converted0 ,royal ,academician--converted to be chaplain to ,george 8,florizel10 ,prince of ,wales4 ,john ,russell1 whose gracious portraits in pastel appealed to fashion with the special charm of their uncommon medium1 also found happy interpretation on the copper-plate1 especially from the delicate graver of ,p4 ,w4 ,tomkins4 ,the most attractive examples in colours are the charming ,maria1 ,maternal ,love 7,mrs4 ,morgan and child71 and ,children ,feeding ,chickens4 ,collyer's ,mrs4 ,fitzherbert is also one of the most desirable among the numerous ,russell colour-prints4 ,when the engravings of ,charles ,ansell's ,death of a ,racehorse in #aghd had an immense sale1 none presumably would have believed that1 a hundred and twenty-five years later1 collectors would hold him in high regard1 not for the horses that made him famous1 but for four dainty little drawings of domestic 8interiors10 thoroughly representative of their period1 preserved in ,p4 ,w4 ,tomkins's stipple prints1 especially charming and rare in colours4 ,tomkins engraved other things of ,ansell's1 ,knight also2 but the set of ,the ,english ,fireside and ,the ,french ,fireside1 ,the ,english ,dressing-,room and ,the ,french ,dressing-,room 7the two latter reproduced here71 if really fine in colour1 must be a prize in the choicest collection4 ,as these prints give us intimate glimpses into the home-life of the 8smart set0 of the period1 so1 thanks to the pictorial sense of that vivacious artist ,edward ,dayes1 we are able to see just how the fashionable world comported itself in the parks4 ,an ,airing in ,hyde ,park and ,the ,promenade in ,st4 ,james's ,park1 the one engraved by ,gaugain1 the other by ,soiron1 are alive with contemporary social and pictorial interest1 and in colours they are rare to seek4 ,social interest1 too1 flavours chiefly the name of ,henry ,william ,bunbury4 ,classed generally with the caricaturists1 among whom1 even in that period of forcible and unrestricted caricature1 he was certainly one of the most spontaneously humorous as he was the most refined1 he had1 like his brother caricaturist ,thomas ,rowlandson1 his days of grace4 ,in those days he did1 not with flawless drawing perhaps1 but with a vivid feeling for beauty1 some charming things1 which the engravers turned to good account in colour4 ,among these are ,morning ,employments by ,tomkins1 ,the ,song and ,the ,dance by ,bartolozzi1 ,the ,modern ,graces by ,scott1 and ,black-eyed ,susan by ,dickinson4 ,from his popular task of whipping with genial graphic satire the social follies and foibles of the day4 ,bunbury's pencil would on occasion 8lightly turn to thoughts of love10 as in ,a ,tale of ,love1 so artistically engraved by ,j4 ,k4 ,sherwin2 and it was in this mood that his discourse on love and romance would somewhat shock ,fanny ,burney4 ,she did not think it quite nice in a ,court equerry1 who was also a husband and a father1 to dilate so rhapsodically on such topics2 but he adored 8,the ,sorrows of ,werther10 which she told him she could not read2 and1 after all1 was he not the devoted husband of ,catherine ,horneck1 ,goldsmiths 8,little ,comedy08 ,rowlandson had not1 of course1 ,bunbury's culture and refinement1 but with all his rollicking ,rabelaisian humour1 he had faultless draughtsmanship with1 when he chose1 a daintiness of touch and a magic grace of curve4 ,among his countless coloured plates1 however1 those that can be accepted as true colour-prints can be numbered almost on one hand4 ,opera ,boxes and the interesting and vivid ,vauxhall1 spiritedly engraved by ,pollard1 and capitally aquatinted by ,francis ,jukes1 were not1 as generally supposed1 actually printed in colours2 but ,the ,syrens and ,narcissa1 both things of voluptuous charm1 are etched and stippled and veritably colour-printed in part4 ,with very few exceptions1 ,rowlandson's prints were only etched by him1 then aquatinted and coloured by other hands1 he supplying a tinted drawing4 ,when the mantle of the fashionable portrait-painter had slipped naturally from the shoulders of ,reynolds to those of ,john ,hoppner1 and the older beauties were not as young as they used to be1 and a new set of beautiful young women had meanwhile grown up1 the curious public called for the new faces4 ,so ,hoppner1 already finely interpreted by the best mezzotint men1 now readily allied himself with ,charles ,wilkin1 a portrait-painter in oil and miniature of some repute1 who1 as a very talented and individual stipple-engraver1 had won his spurs with ,sir ,joshua1 notably in his rich engraving of the famous ,lady ,cockburn and her ,children4 ,the new venture was ,a ,select ,series of ,portraits of ,ladies of ,rank and ,fashion4 ,these1 charming and desirable in monochrome1 are delightful1 but very rare1 in colour4 ,seven of the portraits were done by ,hoppner1 and show him in most gracious vein3 these are ,viscountesses ,st4 ,asaph and ,andover1 ,countess of ,euston1 the new ,duchess of ,rutland1 ,lady ,charlotte ,campbell1 ,lady ,langham1 and ,lady ,charlotte ,duncombe4 ,the other three are from the spirited pencil of the engraver himself--,ladies ,gertrude ,villiers1 ,catherine ,howard and ,gertrude ,fitzpatrick1 who as a child had sat to ,reynolds for his ,collina4 ,hoppner's ,hon4 ,mrs4 ,paget as ,psyche is also a charming coloured stipple1 engraved by ,henry ,meyer4 ,the colour-printed mezzotint seems to have found exceptional favour with ,hoppner1 for in that medium we have the lovely ,countess of ,oxford--a choice example--and ,mrs4 ,whitbread1 by ,s4 ,w4 ,reynolds2 ,j4 ,r4 ,smith's ,sophia ,western and ,mrs4 ,bouverie1 with an engaging suggestion of pastel2 ,charles ,turner's ,lady ,cholmondeley and ,child2 ,john ,jones's ,mrs4 ,jordan as 8,hippolyta02 ,john ,young's ,lady ,charlotte ,greville1 ,mrs4 ,hoppner as 8,eliza10 ,mrs4 ,orby ,hunter1 the ,godsall children 7,the ,setting ,sun71 and ,lady ,lambton and ,children 7one of them ,lawrence's ,master ,lambton72 ,william ,ward's pretty ,salad ,girl1 ,mrs4 ,benwell1 and ,the ,daughters of ,sir ,thomas ,franklana1 so well known in monochrome1 but so exceedingly rare in colour2 ,james ,ward's ,juvenile ,retirement 7the ,douglas children72 ,children ,bathing 7,hoppner's own72 ,mrs4 ,hibbert1 and the graceful ,miranda 7,mrs4 ,michael ,angelo ,taylor71 of which only one impression is known in colours1 exquisite in quality1 that in the very choice collection of ,mr4 ,frederick ,behrens4 ,although ,hoppner's pre-eminence among the portrait-painters was so long established1 it was seriously challenged in the ,royal ,academy exhibition of #agij by the portrait of ,an ,actress from the brush of a painter only twenty-one years of age1 who was destined to preside over the ,academy and become the most fashionable painter of his day4 ,this was ,thomas ,lawrence1 and the portrait was that of the popular and beautiful ,miss ,elizabeth ,farren--,countess of ,derby seven years later--in her fur-lined white cloak and muff1 which was engraved by ,charles ,knight1 with finishing touches by ,bartolozzi1 who signed it1 and is now one of the most desired of colour-prints1 as it is one of the most constantly reproduced4 ,the acknowledged beauties1 however1 did not monopolise the 8placidness of content or consciousness of superiority10 which ,dr4 ,johnson1 so ,johnsonianly1 held was necessary to 8expand the human face to its full expression40 ,happily there were artists to see everywhere dainty and charming women who could be attractively pictured with the artistic sense of nature and actuality1 perhaps even more picturesquely for not being able always to keep their temperaments out of their faces and attitudes4 ,one of these artists was also an eminent engraver1 and at the same time an extensive printseller and publisher1 with always one eye to his art and the other to the main chance4 ,john ,raphael ,smith loomed very large in the ,london print-world of the later eighteenth century1 because he had not only the artistic ability to do the thing popularly wanted1 but also the commercial intuition as to what would be likely to please the public in its varying fancies4 ,a master of mezzotint1 and monarch among the translators of ,gainsborough1 ,reynolds and ,romney1 he used with lighter touch the same medium for engraving many of his own vivacious picturings of contemporary social scenes1 with their manners and fashions very much alive4 ,a generous1 convivial1 cheerful liver himself1 filling every hour with the activities of art1 commerce and pleasure1 ,j4 ,r4 ,smith had the vivid pictorial eye for what was gay and pleasing in the life around him4 ,also he possessed an instinctive sense of fashion4 ,therefore1 in the numerous attractive drawings of petty women in varied attitudes of busy idleness1 we get a more real impression of the fashions of the passing hour than even the stately canvasses of ,sir ,joshua could give us with all their artistic defiance of the modistes4 ,smith would engrave these himself in stipple suggesting crayon effects1 with the original artist's freedom1 and the mezzotinter's broad handling of tones2 or he would entrust them to other engravers4 ,being a painter1 he used colour on his plates judiciously1 and among the most highly-prized colour-prints of the period ,j4 ,r4 ,smith's spirited engravings hold quite an individual place4 ,to name1 perhaps1 the most characteristic3 ,loisir2 ,black1 ,brown and ,fair2 ,maid2 ,wife2 ,widow2 and ,what you ,will2 ,a ,christmas ,holiday2 ,flirtilla and ,narcissa2 ,the ,fortune ,tellers2 ,the ,mirror1 ,serena and ,flirtilla2 ,thoughts on a ,single ,life1 with its companion1 ,thoughts on ,matrimony1 engraved quite as well by ,william ,ward1 at whose hands ,the ,widow's ,tale makes a charming appearance in coloured mezzotint4 ,in this medium also ,the ,promenade at ,carlisle ,house enjoys an elusive existence4 ,then there are ,smith's ,lecture on ,gadding and ,the ,moralist1 stippled by ,nutter1 and his ,credulous ,lady and the ,astrologer1 by ,simon4 ,but not even his own designs inspired his mezzotint-scraper to finer results than the splendid ,almeria 7,mrs4 ,meynott71 after ,opie1 or his stipple-graver to surer beauty than in his ,mrs4 ,mills after ,engelheart1 or his ,snake in the ,grass1 after ,reynolds1 or those charming and familiar ,morland prints ,delia in ,town and ,delia in the ,country1 ,rustic ,employment and ,rural ,amusement1 and the ,letitia set1 of course in their original form4 ,j4 ,r4 ,smith's was a dominating personality1 and his influence on his talented pupil1 ,william ,ward1 was very strong4 ,he taught him by example1 paying him the compliment of engraving in mezzotint and charmingly colour-printing his pupil's felicitous1 ,morlandish picture1 ,the ,visit to the ,grandfather4 ,he certainly made him work1 and the results show not only in the innumerable fine plates which ,ward produced in mezzotint and stipple after various painters1 but in his own dainty drawings of charming femininity4 ,these1 such as the well-known ,louise1 ,alinda1 ,lucy of ,leinster1 ,almeida1 ,the ,soliloquy1 ,hesitation1 ,louisa ,mildmay1 and ,the ,cyprian ,votary1 were all translated to the copper with a verve and charm1 produced by an exact understanding of the artistic economies of the stippled crayon manner1 unsurpassed1 perhaps not equalled1 by any other engraver4 ,when finely tinted1 they show the colour-printer's craft at its daintiest1 and their collector's taste at its highest4 ,in the same genre are ,private ,amusement 78,reflection07 and ,public ,amusement 78,temptation071 engraved by ,ward after ,ramberg--a favourite pair4 ,but very different1 of course1 in character are his fine mezzotints of the rural pictures of his talented1 irascible younger brother ,james4 ,of these1 perhaps1 the best print in colours are ,the ,citizen's ,retreat1 ,selling ,rabbits1 ,compassionate ,children1 ,the ,haymakers1 ,outside of a ,country ,ale-house1 ,summer and ,winter1 and the well-known ,vegetable ,market1 the companion to which1 ,a ,poultry ,market1 was finely engraved by ,james ,ward himself1 whose own attractive plates of ,the ,rocking ,horse and ,rustic ,felicity and ,a ,cottager going to ,market and ,a ,cottager returning from ,market1 have also been printed in colours4 ,william ,ward's popular fame as an engraver1 however1 will doubtless rest mainly on his innumerable transcripts in stipple and mezzotint of the pictures of his brother-in-law1 that natural artist1 that dissolute1 happy-go-lucky vagabond1 that homely1 facile painter of genius1 ,george ,morland4 ,in exploiting ,morland as he did1 ,john ,raphael ,smith proved his unerring instinct for the right popular thing4 ,he was answering an unconscious call for artistic virility and freshness of vision4 ,the prints of the widest public appeal1 however simple their intentions in rusticity or domesticity of subject1 were merely repeating pictorial conventions1 illustrating stereotyped sentiments4 ,bigg1 ,hamilton1 ,wheatley1 ,singleton1 ,westall1 they were all doing pleasing1 pretty things enough1 and the public were buying the prints1 and hanging them on the walls of their homes1 without even suspecting that ,nature as the true inspiration of art had but little to do with all this picture-making4 ,then came ,morland1 with his natural instinct for the true1 the simple picture1 his free and facile art1 his charming wizardry of the palette1 his happy1 unaffected realism4 ,the others had been idealising the commonplace2 ,morland knew that nothing is commonplace if seen and treated with relative truth4 ,j4 ,r4 ,smith saw1 both as artist and prosperous publisher of prints1 that here at last was a virile genius that could charm the people's love of pictures to a clearer understanding of beauty through a true pictorial vision of nature4 ,it was a curious coincidence that just about the same time an obscure publisher in ,kilmarnock had given the ,scotch lovers of song the means of recognising in the natural lyric note of ,burns a reviving impulse for ,english poetry4 ,here in ,morland was a ,burns on canvas1 a ,burns who sang with his paint-brush1 who could put the moods of ,green ,grow the ,rashes1 ,o1 of ,my ,nannie1 ,o1 or ,the ,jolly ,beggars1 into enduring pigments as the poet had put them into immortal song4 ,and ,morland's simple pictures are classic to-day1 because in them1 irrespective of subject1 is the painter's true poetry of form and colour4 ,always susceptible to the ready comradeship1 in the first consciousness of his brilliant easy powers1 with his artistic ambitions bound up in his joy of living1 ,morland came quickly under the influence of ,smith's convivial yet energising personality4 ,the publisher1 urged by the public's clamorous response1 stimulated him to a prolific activity1 and1 with such engravers as ,smith himself and the ,wards to interpret him with masterly understanding and sympathy1 and all the other engravers of note eager to do the same1 ,morland soon commanded the market--or1 at least1 his exploiters did4 ,it seemed that ,morland could do everything the public appeared to want1 so1 before he developed into the ,morland exclusively of the stable and the farmyard and picturesque vagabondage1 he challenged the popular genre painters on their own ground1 and beat them with the magic simplicity of nature4 ,could the domestic ,bigg do anything in his own line as charmingly life-like as ,a ,visit to the ,child at ,nurse and ,a ,visit to the ,boarding ,school8 ,look at ,william ,ward's mezzotints of these pictures in colour1 and then compare with their sweet actuality of scene and sentiment the same engraver's version of ,bigg's ,the ,birth of an ,heir1 with its scenic posturing and sentimentality4 ,then1 what colour-prints of children could ,hamilton or ,stothard ever have designed to compare1 for true suggestion of the bright buoyancy of childhood1 with such gems as ,ward's mezzotints ,children ,birds-nesting1 ,juvenile ,navigators1 ,blind ,man's ,buff1 ,the ,kite ,entangled2 ,keating's ,playing at ,soldiers1 and ,nurse and ,children in a ,field2 ,dayes' ,children ,nutting1 and ,tomkins's stipple ,children ,feeding ,goats4 ,morland enjoyed to let the children of the neighbourhood play and romp about his studio1 and thus he could paint them naturally1 with no self-consciousness on their parts and happy sympathy on his4 ,no wonder all the engravers were agog to make copper-plates from his quickly finished paintings4 ,that charming spontaneity of picturesque impression1 with luminous harmony of tones1 which distinguishes all ,morland's pictures1 even those painted in his least reputable days of hand-to-mouth living1 is reflected in the best engravings of his multitudinous works4 ,of those printed in colours one may attempt a selection from the point of view of especially fine quality and rarity4 ,among the stipples1 therefore1 must be named again ,j4 ,r4 ,smith's ,rustic ,employment and ,rural ,amusement1 ,delia in ,town and ,delia in the ,country1 and the famous ,story of ,letitia series--,domestic ,happiness1 ,the ,elopement1 ,the ,virtuous ,parent1 ,dressing for the ,masquerade1 ,the ,tavern ,door1 and ,the ,fair ,penitent 7re-issued in #ahaa with the ample costumes of #aghf incongruously altered to the current slim ,empire fashion1 upsetting1 of course1 the pictorial balance of design74 ,then there are ,constancy 7,mrs4 ,ward71 ,variety 7,mrs4 ,morland71 and ,morning2 ,thoughts on ,amusement for the ,evening--a very rare oval--by ,william ,ward2 ,louisa1 a pair of large ovals1 ,the ,lass of ,livingstone1 and ,how ,sweet to meet with ,love's ,return1 the famous ,dancing ,dogs1 and ,guinea ,pigs1 all by ,t4 ,gaugain 7the last pair re-issued by ,phillipe72 ,the ,tea ,garden and ,st4 ,james's ,park1 by ,f4 ,d4 ,soiron2 ,the ,squire's ,door and ,the ,farmer's ,door1 by ,duterreau2 ,the ,farmer's ,visit to his ,married ,daughter in ,town1 by ,w4 ,bond1 and ,the ,visit ,returned in the ,country1 by ,nutter2 ,industry and ,idleness 7,mrs4 ,morland71 by ,knight1 and ,the ,fair ,seducer1 and ,the ,discovery1 by ,e4 ,j4 ,dume4 ,many of ,morland's pictures on the mezzotint plates seem to have justified the colour-printer1 but innumerable ,morland prints were coloured by hand entirely or in part1 and it is said that ,j4 ,r4 ,smith employed his young pupil ,joseph ,mallord ,william ,turner upon this work4 ,i doubt1 however1 if even ,mr4 ,rawlinson could detect ,turner's hand upon a ,morland print1 therefore we must be content to distinguish the finest and rarest of the mezzotints actually printed in colours4 ,to those already named we may add ,the ,angling ,party by ,keating1 and ,the ,angler's ,repast by ,william ,ward1 to whom we are also indebted for ,the ,coquette at her ,toilet1 ,the ,pledge of ,love 78,contemplating the ,miniature072 ,contemplation 78,caroline of ,lichfield071 very rare1 and exquisitely suggestive of the original in ,mr4 ,thomas ,barratt's wonderful ,morland collection2 ,cottagers1 ,travellers1 ,the ,thatcher1 ,first of ,september--,morning1 ,first of ,september--,evening1 ,inside of a ,country ,ale-house1 ,the ,public-,house ,door1 ,the ,effects of ,extravagance and ,idleness1 ,the ,turnpike ,gate1 ,the ,sportsman's ,return1 and ,the ,farmer's ,stable1 ,morland's ,national ,gallery masterpiece2 ,the ,return from ,market1 a beautiful thing1 and ,feeding the ,pigs1 by ,j4 ,r4 ,smith2 ,sunset3 a ,view in ,leicestershire1 by ,james ,ward2 ,summer and ,winter by ,w4 ,barnard2 ,morning1 or the ,benevolent ,sportsman2 ,evening1 or the ,sportsman's ,return1 by ,j4 ,grozer1 and ,selling ,cherries and ,shelling ,peas1 a very rare pair1 etched and mezzotinted by ,e4 ,bell4 ,then there is 8,the ,deserter0 set1 by ,keating1 ,enlisting a ,recruit1 ,recruit deserted and detected hiding in his wife's room1 ,the ,deserter handcuffed and conveyed to a court martial1 ,the ,deserter pardoned and restored to his family2 a set of pictures studied with realism resulting from one of ,morland's characteristic adventures1 possible1 perhaps1 only in the eighteenth century4 ,snipe ,shooting1 one of a set of four1 by ,g4 ,catton1 ,jun41 must not be forgotten2 it is of particular interest as showing aquatint in effective combination with stipple and etching4 ,how important a place ,morland fills in the history of eighteenth-century prints1 one realises only when1 looking over a collection like ,mr4 ,thomas ,barratt's at ,hampstead1 where the colour-prints are to be seen in their multitude1 one attempts to note down a few gems1 and finds a long list has quickly accumulated4 ,,iii4 ,bartolozzi had come to ,england as an acknowledged master of line-engraving1 rival even of the splendid ,sir ,robert ,strange1 and the spontaneous charm and fluent beauty of his incomparable etchings after ,guercino1 and the lovely lines of his ,clytie and his ,silence after ,annibale ,carracci1 had simply astonished the connoisseurs4 ,his accomplished and prolific etching-point and graver carried an unaccustomed grace and delicacy into many a channel of the engraving industry4 ,the benefit concert-ticket of the humblest musician was engraved as finely and brilliantly as the diploma of the ,royal ,academy1 while the book-illustration of the day was largely enriched by the easy charm of his touch4 ,then1 as we have seen1 the little art of stipple came almost like a fairy-gift to his ready hand1 so opportune was the moment4 ,bartolozzi's sweet caressing sense of beauty found inevitable expression through the gentle possibilities of the medium1 and the public became eagerly responsive4 ,with the encouragement of a popularity daily on the increase1 and the appreciation of his brother artiste1 he produced those charming stipple prints which are among the masterpieces of the method1 and make1 for many people1 the name of ,bartolozzi synonymous with 8beautiful old colour-prints40 ,he was still the true artist1 doing worthy things1 interpreting beauty with an elusive magic of charm all his own4 ,pupils flocked to his studio2 among them engravers of repute1 who realised that the new and easy stipple was going to prove more remunerative than the laborious line-method1 or even mezzotint4 ,pupils1 too1 there were who learnt from ,bartolozzi so well1 that they equalled their master while yet in their pupilage1 as he admitted1 either with generous praise1 or by the ambiguous method of signing their plates with his own name4 ,unfortunately for his reputation this was a practice that grew upon him1 for1 since the name of ,bartolozzi had a distinct market value1 he appended it sometimes to prints quite unworthy of its bearer4 ,for the modern collector this1 of course1 involves frequent snares and delusions4 ,bartolozzi has been called the ,achilles of eighteenth-century engraving1 and certainly his productiveness and his influence were on quite an heroic scale2 nor was the vulnerable heel wanting to complete the simile4 ,this was his spendthrift love of epicurean living1 which gradually dulled his artistic conscience until it made no attempt to distinguish between the demands of art and a commercial popularity4 ,luxurious in his habits1 free with his hospitality1 generous to a fault with his purse1 he looked with a satisfied eye on the ever-expanding market for the coloured stipple-print1 which practically he had created1 or1 at least1 auspicated with beautiful offerings4 ,and as he saw that the public would now accept almost anything tendered to it in the name of a colour-print1 however meretricious the design or poor the engraving1 he seems to have sacrificed artistic scruples to the constant need of money-making4 ,if his purse was a sieve1 the popular craze for colour prints must keep on filling it4 ,so ,bartolozzi1 the great and famous engraver1 whose sure draughtsmanship had long been as a leaning-staff to the printsellers and many an artist1 actually encouraged vain but incompetent amateurs1 several of them quite pleasant ladies with pretty ideas1 to make feeble1 mawkish designs1 which perhaps he would correct in drawing1 before giving them to often half-fledged engravers1 and turning them upon the market in poorly1 hurriedly stippled plates1 specious in coloured inks4 ,as his best pupils1 ,tomkins1 ,cheesman1 ,schiavonetti1 ,ogborne1 ,marcuard1 left him1 and set up as independent engravers1 ,bartolozzi's studio1 with its innumerable workers1 gradually developed into little more than a factory for turning out popular prints as rapidly as possible4 ,this hurry for the market seems1 however1 to have affected not only ,bartolozzi and his engravers1 but the printselling world generally4 ,the art critic of the 8,monthly ,mirror0 for #agif1 while blaming the printsellers as the cause1 protested against the 8slovenly and imperfect manner0 in which so many prints were being turned out1 declaring1 moreover1 that this was influencing the painters to an indifference about the execution of such works as were intended for prints1 making them 8contented to satisfy the print or bookseller with the mere effect of light and shade40 ,earlier than this1 however1 ,sir ,robert ,strange1 who hated ,bartolozzi1 and for whom line-engraving alone represented the dignity of the engraver's art1 had predicted a sort of artistic dbcle through the popularity of stipple-engraving4 8,from the nature of the operation10 he wrote1 8and the extreme facility with which it is executed1 it has got into the hands of every boy1 of every printseller in town1 of every manufacturer of prints1 however ignorant and unskilful4 ,i call them manufacturers1 because the general run of such productions does not in reality merit the appellation of works of art and must ultimately tend to depreciate the fine arts in general1 to glut the public1 and to vitiate the growing taste of the nation4 ,this art1 if to it may be called1 is in itself extremely limited1 admits of little variety1 and is susceptible of no improvement40 ,naturally1 the great line-engraver1 who had worked for his fame through long arduous years1 was vexed to see the very effects of soft flesh tones1 which he produced to admiration with laborious mastery of point and graver1 rendered so easily by stipple1 and even more popularly appreciated4 ,yet there was a good deal of truth in his protest4 ,the public was in time glutted1 not with finely engraved colour-prints1 but with inferior stippling of weak designs1 much of it crudely coloured by hand1 or printed with no sense of art2 but the fine arts in general were not in the least depreciated through such things4 ,and now the charming little art has1 at its old-time best1 found enthusiastic lovers again1 while the noble beauty of line-engraving is to-day appreciated by only the limited few4 8,if ,strange could but re-visit the glimpses of ,christie's1 it would more than astonish him to see there none of his own superb line-engravings after the great ,italian masters1 but to hear the keen bidding for his old rival ,bartolozzi's best colour-prints after ,reynolds1 or the ,downman ,duchess of ,devonshire and ,lady ,duncannon1 the ,cipriani infants1 ,contentment1 ,friendship1 the ,hamilton ,months1 or ,miss ,benwell's ,st4 ,james's and ,st4 ,giles's ,beauties1 or the ,orange ,girl4 ,not a little surprised would ,strange be if also he could hear how the modern collector values the work of ,bartolozzi's most distinguished pupils in that same art which he in his day regarded so contemptuously4 ,of these1 ,peltro ,william ,tomkins was ,bartolozzi's own favourite4 8,he is my son in the art10 said the master1 always generous with praise of good work2 8he can do all ,i can in this way1 and ,i hope he will do more40 ,tomkins inherited the graphic tendency from his father1 ,william ,tomkins1 ,a4,r4,a41 a landscape painter2 but1 of course1 it was from ,bartolozzi he learnt the sweetness and grace of draughtsmanship which distinguish his copper-plates1 whether in the engraving of his own pretty fanciful designs of children1 such as ,he ,sleeps1 ,innocent ,play1 ,the ,wanton ,trick1 or the pictures of other artists4 ,his close-grained stippling1 too1 had that same soft and tender rotundity of tone we find in the authentic works of the master1 and of course it was peculiarly adaptable to the simple tints of the eighteenth-century colour-printer4 ,a few of ,tomkins's most attractive prints will be found among the illustrations to this volume1 others ,i have named in speaking of the painters4 ,the extent of his work was enormous1 and it always had charm2 so the collector can choose many appealing things without exhausting the list of ,tomkins's capital prints4 ,engraver to the ,queen and drawing-master to the ,princesses1 he seems to have been a favourite with the lady artists and amateurs1 whose drawings frequently employed his graver1 such as ,julia ,conyers1 ,princess ,elizabeth1 ,lady ,templetown1 ,lady ,edward ,bentinck1 ,miss ,drax1 and1 of course1 they all demanded colour as a sort of prescriptive right4 ,among his more serious work were some good plates after the old masters1 as those in ,tresham's 8,british ,gallery of ,pictures10 rather brilliant in colour4 ,on a ,virgin and ,child and ,st4 ,john1 after ,raphael1 engraved and published by ,tomkins at ,fulham in #aghi1 ,i find 8,printed in colour by ,c4 ,floquet10 which suggests an amicable understanding between engraver and printer2 for the colourist was rarely credited with his share in the old colour-prints4 ,thomas ,cheesman's engravings have at their best the free and easy charm of the artist accustomed to express his own conceptions4 ,in his youth he lodged with ,hogarth's widow1 through whose influence he was entrusted with the engraving of ,the ,last ,stake4 ,the work must have been a liberal education4 ,stippling1 strengthened with etching1 he learnt from ,bartolozzi1 and how he excelled in it may be seen in such charming prints as ,romney's ,spinster and ,seamstress1 ,angelica ,kauffman's ,marchioness of ,townshend and ,chila 7,love and ,beauty71 ,reynolds's ,reverie1 his own ,maternal ,affection1 and others of his graceful designs4 ,robert ,s4 ,marcuard was another of ,bartolozzi's best pupils1 and his fine engraving of his master's portrait1 after ,reynolds1 has a richness of tone and distinction of character rarely seen in stipple-plates1 but found also in ,marcuard's transcripts of others among ,reynolds's male portraits4 ,he appears to have strengthened his stippling of shadows with etching to a more than usual extent1 a practice suggested1 perhaps1 by his work in mezzotint4 ,several noteworthy prints by ,charles ,knight have already been named4 ,he was quite a valuable engraver of remarkable industry1 and so studiously did he assimilate the ,bartolozzi methods1 while lacking only the master's inimitable delicacy1 that he could be trusted to execute important plates which needed but ,bartolozzi's own finishing touches to make them worthy of his name4 ,these the master would unhesitatingly sign for publication1 as in the case of the famous ,miss ,farren after ,lawrence4 ,the brilliant etching1 with all the preliminary work1 was ,knight's2 yet it is known as ,bartolozzi's print4 ,but to the various acknowledged prints of ,knight's already mentioned one may add1 as good examples in colours1 ,cupid ,disarmed1 and ,cupid's ,revenge after ,miss ,benwell1 and ,the ,valentine and ,the ,wedding ,ring after ,ansell4 ,john ,ogborne and ,william ,nutter learnt line-engraving from that interesting engraver and valuable antiquarian1 ,joseph ,strutt1 a pupil himself of ,ryland2 then they went to ,bartolozzi to acquire the stipple method1 through which they both achieved distinction1 ,nutter adding to ,bartolozzi's teaching the broader influence of ,j4 ,r4 ,smith's4 ,john ,keyse ,sherwin's natural gifts were influenced to an easy grace in ,bartolozzi's studio1 and we owe to him a few charming stipples in colour2 but his brief and brilliant career1 ruined by vanity1 dandyism1 and fashionable favour1 belongs to the story of line-engraving1 in which it fills a lively and interesting page4 ,another talented individuality among the group of ,bartolozzi's disciples was ,edmund ,scott1 who did some very engaging stipples in colour1 of which a few have been named4 ,his work was much favoured by the popular painters4 ,naturally ,bartolozzi's ,european reputation1 and rumours of the rapidity with which money could be made by the stipple method1 attracted to his studio a number of pupils from the ,continent1 where1 till the war began in #agic1 there was a very large and constant trade in ,english prints4 ,several fine collections1 by the way1 were made at the time1 and some of these are still intact1 notably one in ,weimar4 ,among the foreign pupils were1 of course1 several ,italians1 of whom the most important were ,luigi ,schiavonetti and ,giovanni ,vendramini1 whose names are familiar chiefly through their charming plates in the ,cries of ,london series4 ,schiavonetti1 however1 was brilliant also in etching and line-work1 and not less artistic than his stipples were his engravings of ,blake's beautiful illustrations to ,blair's poem1 ,the ,grave4 ,vendramini was personally so popular that he was induced to take over ,bartolozzi's business and his house at ,north ,end1 ,fulham1 when the old man in #ahjb1 seeing the waning of the public taste for his prints1 accepted a royal invitation to ,portugal1 where they gave him a knighthood and a pension1 and where he went on engraving and teaching till1 close on ninety years of age and in straitened circumstances1 he died in #ahae4 ,james ,minasi1 an engraver of taste1 ,i have already mentioned as one of ,bartolozzi's favourite pupils1 devoted to the end4 ,his cousin1 ,mariano ,bovi was another1 and a very artistic touch he had1 as may be seen in his many engravings of ,lady ,diana ,beauclerc's fantastic infantile groups1 and the charming decorative frieze after ,cipriani1 reproduced here4 ,other notable ,italian disciples were ,pietro ,bettelini and ,michel ,benedetti4 ,russia1 which was always ready at that time to encourage the prolonged visits of ,english artists1 sent ,bartolozzi an assimilative pupil in ,gabriel ,scorodoomoff1 who did several pretty colour-prints4 ,of the ,french pupils1 ,john ,peter ,simon had perhaps the most artistic sense of the medium1 and he will always be esteemed for his brilliant engraving of ,reynolds's ,heads of ,angels--a beautiful print in colours4 ,jean ,marie ,delattre1 when once he had learnt stipple1 became the master's right-hand man1 8forwarding0 many of his plates to a considerable extent1 touching up and correcting the work of less competent pupils1 and turning out a number of good prints of his own4 ,other ,frenchmen there were1 too1 among the stipple-engravers who1 though not actually pupils of ,bartolozzi1 could not help reflecting his influence4 ,chief among these were ,thomas ,gaugain1 ,f4 ,d4 ,soiron1 and ,b4 ,duterreau1 all of whom are represented among our illustrations by charming prints after ,morland4 ,gaugain began his artistic life as a student of painting with ,richard ,houston1 the eminent mezzotint-engraver1 and this training seems to have lent a valuable quality of tone to his engraving4 ,the last and rarest plate of the ,cries of ,london--,turnips and ,carrots--was his4 ,john ,cond was an ideal engraver of ,cosway's miniatures1 which he rendered with a touch of the utmost refinement and taste1 and an exquisite sense of their adaptabilities to the copper4 ,scarcely less successful in this field was ,schiavonetti's gifted ,flemish pupil1 ,anthony ,cardon1 and it was doubtless through his master's influence that he1 too1 was engaged upon the ,cries of ,london4 ,but the ,bartolozzi influence was not quite supreme4 ,no engraver1 for instance1 used the stipple method with more originality or more truly pictorial effect than ,john ,jones1 who was1 of course1 one of the glories of the great ,english school of mezzotint4 ,at his best only to be compared for beauty with ,burke1 his was a broader conception of the delicate medium2 and1 gauging its artistic capacity to a nicety1 he understood exactly how to balance breadth and depth of tone with the fine shades1 while avoiding that tendency to monotony of smoothness which characterised even the best of the ,bartolozzi school4 ,his manner was quite his own1 strong in its refined simplicity1 artistic in its reticence1 and among the most beautiful and individual colour-prints in stipple1 few are comparable with those that ,jones did after ,romney1 ,reynolds and ,downman4 ,his exquisite ,serena was one of the prints we had hoped to have included among our illustrations4 ,scarcely less distinctive in stipple than ,jones1 ,j4 ,r4 ,smith and ,william ,ward1 was that other great artist in mezzotint1 ,thomas ,watson1 whose stippling had the large pictorial feeling4 ,naturally he was happy with ,reynolds1 as in the lovely ,una1 while in the ,mrs4 ,crewe and ,mrs4 ,wilbraham1 he made the very best of ,daniel ,gardner1 who appears to have learnt all he could from ,sir ,joshua4 ,of the stipple-engravers who made pretty and attractive colour-prints their name is legion1 while these pages are necessarily limited4 ,so ,i must regretfully leave but barely named such notable stipplers as ,joseph ,collyer1 with his vigorous touch2 ,francis ,hayward1 whose ,mrs4 ,siddons as the 8,tragic ,muse0 is so well known2 ,william ,bond2 the versatile ,robert ,pollard2 ,r4 ,m4 ,meadows2 the dainty ,john ,s4 ,agar2 those three fine mezzotinters1 ,charles ,turner1 ,richard ,earlom1 and ,william ,dickinson1 whose ,duchess of ,devonshire and ,viscountess ,duncannon has often the high distinction of pairing with ,burke's ,lady ,rushout and ,daughter2 the brothers ,facius2 ,caroline ,watson1 with her exquisite finish whether in pure stipple or in 8mixed0 methods2 ,joseph ,grozer2 ,christian ,josi1 to whom we are indebted for more than his engraving1 in his valuable publication of ,ploos ,van ,amstel's interesting second pioneering series of aquatints printed in colour1 ,collection d',imitations des ,dessins1 twenty-three years after ,van ,amstel's death2 ,john ,eginton2 ,charles ,white1 a favourite engraver of the lady artists2 ,james ,hogg1 whose ,handmaid after ,walton is as charming as its companion1 ,the ,tobacco ,box2 ,robert ,thew2 ,r4 ,m4 ,paye2 and ,william ,blake1 whose sure immortality is quite independent of such artistic stippling as his ,mrs4 ,q4 after ,huet ,villiers1 and his two ,morland prints4 ,the war with ,france1 closing important markets for ,english engravings1 had a depressing influence on the production of prints1 and the early years of the nineteenth century saw fresh vagaries in the popular taste4 ,even the ,morlands were neglected4 ,the coarse political and social caricatures of ,james ,gillray--once ,bartolozzi's pupil--and of ,thomas ,rowlandson were intriguing and titillating the town with their robustious humours and audacious licence4 ,yet ,adam ,buck was strangely in favour2 his inadequate drawings of babies and slender women in ,empire gowns1 which a contemporary writer describes as 8happily combining the taste of the antique with that of the modern10 suited the spurious classic fashion of the time4 ,these were engraved1 some partly stippled1 partly aquatinted1 by ,freeman1 ,j4 ,c4 ,stadler1 ,roberts and even ,cheesman4 ,artistically negligible1 the excellence of their colour-printing alone can excuse any demand at the present day for such pretty-pretty trifles as ,the ,darling ,asleep1 ,the ,darling ,awake1 ,the ,darling ,dancing1 and so on4 ,in their own day1 notwithstanding their passing vogue1 they sounded the knell of the stippled colour-print4 ,coloured aquatints were now becoming the rage4 ,that this charming and delicate process1 producing various gradations of tone by successive 8bitings0 with acid through a porous1 resinous ground1 might long before have competed with stipple1 may be judged by the delightful pair of colour-printed aquatints1 ,courtship and ,matrimony1 by ,francis ,jukes after ,w4 ,williams1 published in #aghg by ,j4 ,r4 ,smith4 ,but1 invented in ,france about #agej by ,jean ,baptiste ,prince1 practised a little later with colour by ,ploos ,van ,amstel1 and introduced to ,england in #agge by ,paul ,sandby for the treatment of landscape1 it was a long while before the pictorial capacities of aquatint were adequately understood and extended4 ,in the artistic hands of the ,daniells1 the ,havells1 ,j4 ,c4 ,stadler1 ,j4 ,bluck1 ,j4 ,sutherland and ,f4 ,c4 ,lewis1 it became1 particularly under the gis of ,ackermann1 a most popular medium for colour1 especially in the sporting and coaching prints which the ,regency spirit brought so extensively into demand4 ,then in turn came lithography1 with its ease of method and its sweet1 soft graces1 bringing colour too2 and ,r4 ,j4 ,lane was the new hero of the printsellers1 while for long years ,bartolozzi and his brother stipplers on the copper-plate were shelved1 neglected1 forgotten1 and ,morland prints were scarcely saleable4 ,to-day they have come into their own again--their own1 and perhaps a little bit over4 ,,notes ,,on ,,the ,,illustrations4 ,,countess ,,of ,,harrington ,,and ,,her ,,children 7,plate ,i474 ,sir ,joshua painted her twice also as ,miss ,fleming4--,,robinetta 7,plate ,,ii474 ,the ,hon4 ,anna ,tollemache was the original of this picture1 of which ,reynolds painted three versions3 that in the ,national ,gallery1 ,lord ,lonsdale's1 and ,lord ,tollemache's1 from which ,jones made his engraving1 dedicating it to the picture's then owner the ,hon4 ,william ,tollemache4--,,master ,,henry ,,hoare 7,plate ,,iii474 ,the only son of ,sir ,richard ,colt ,hoare1 ,bart41 ,f4,r4,s41 the well-known antiquarian and historian of ,wiltshire4--,,duchess ,,of ,,devonshire ,,and ,,child 7,plate ,,iv474 ,one of ,sir ,joshua ,reynolds's thirteen exhibits in the ,royal ,academy of #aghf1 when ,walpole depreciated it4 ,here is the famous duchess in that tender mother-mood in which ,coleridge apostrophised her so exquisitely4 ,the chubby baby1 when she grew up1 very properly married the son and heir of that ,earl of ,carlisle who in graceful verse had championed her mother's introduction of the fashion of feathers4--,,the ,,mask 7,plate ,v474 ,part of the 8,duke of ,marlborough and family10 which ,sir ,joshua painted in #aggg4 ,the little ,ladies ,charlotte and ,anne ,spencer1 being taken into the room at ,blenheim where ,sir ,joshua sat at his easel1 the youngest drew back1 clutching at her nurse's gown1 crying 8,i won't be painted60 a natural action which appealed irresistibly to ,reynolds4 ,and little ,lady ,anne1 as ,countess of ,shaftesbury1 lived until #ahfe1 the last survivor of all ,sir ,joshua ,reynolds's countless sitters4 ,,bacchante 7,emma1 ,lady ,hamilton7 7,plate ,,vi474 ,painted in #aghd for ,sir ,william ,hamilton1 when1 of course1 there was no thought of the marriage4 ,the price was #ej guineas1 just about a fifth of what a brilliant impression of the print in colours would fetch to-day4 ,the ,hon4 ,charles ,greville1 ,sir ,william's nephew and ,emma's lover at the time1 seems to have negotiated the business1 for he wrote1 in ,october #aghd to his uncle1 who was then in ,naples3 8,let me know how the ,bacchante is to be paid4 ,the dog was ugly1 and ,i made him paint it again40 ,later ,greville wrote3 8,emma's picture shall be sent by the first ship4 ,i wish ,romney yet to mend the dog40 ,the picture is said to have been lost at sea1 on its way back from ,naples1 but at ,greville's sale in #ahaj1 the ,bacchante--in that case a replica of the lost canvas--was catalogued as 8,diana1 original of the well-known engraved picture10 and bought by ,mr4 ,chamberlayne for #acj guineas4--,,mrs4 ,,jordan ,,in ,,the ,,character ,,of 8,,the ,,country ,,girl0 7,plate ,,vii474 ,it was as ,peggy in ,garrick's comedy 8,the ,country ,girl10 adapted from ,wycherly's 8,country ,wife10 that ,dorothy ,jordan first appeared at ,drury ,lane in #aghe1 and immediately bewitched the public with the natural1 irresistible joyousness of her acting and the lovable charm of her personality4 ,in the following year she gave ,romney thirteen sittings for this picture4 ,at the first he could not satisfy himself as to the best pose for her4 ,after many tries she pretended to be tired of the business1 and1 jumping up from her chair1 in the hoydenish manner and tone of ,peggy1 she said1 8,well1 ,i'm a-going40 8,stay60 cried ,romney2 8that's just what ,i want40 ,and at once he began to sketch her for this picture4 ,it was bought in #agia for #gj guineas by the ,duke of ,clarence1 afterwards ,king ,william ,,iv41 and thereby1 of course1 hangs the well-known tale of a twenty years' love1 ten children1 and unhappy separation4 ,the print1 first published as ,the ,romp at #es41 may now fetch1 if fine in colour1 like ,major ,coates's copy1 as much as #bjj4--;,,hobbinol ,,and ,,ganderetta 7,plate ,,viii474 ,william ,somerville's 8,hobbinol0 was a mock-heroic poem on rural games1 which ,mr4 ,gosse describes as 8ridiculous40--,,countess ,,of ,,oxford 7,plate ,,ix474 ,this is in the ,national ,gallery2 but ,hoppner exhibited an earlier portrait in #agig4 ,jane ,scott1 daughter of a ,hampshire vicar1 married1 in her twentieth year1 the fifth ,earl of ,oxford1 whom ,byron described as 8equally contemptible in mind and body02 but then1 she and the poet were lovers when she was forty and he about twenty-five4 8,the autumn of a beauty like hers is preferable to the spring in others10 he said in after years4 8,i never felt a stronger passion1 which10 he did not forget to add1 8she returned with equal ardour40 ,it was on ,lady ,oxford's notepaper that ,byron wrote his final letter to ,lady ,caroline ,lamb1 and this in the very year in which1 it now appears1 he revived his boyish passion for ,mary ,chaworth4--,,viscountess ,,andover 7,plate ,x474 ,eldest daughter of ,william ,coke1 of ,holkham1 the famous agriculturist1 so long ,m4,p4 for ,norfolk1 and later ,earl of ,leicester4 ,,st4 ,,james',s ,,park 7,plate ,,xiv474 ,m4 ,grosley1 a ,frenchman1 describes this scene in his 8,tour of ,london10 #aggb3 8,agreeably to this rural simplicity1 most of these cows are driven about noon and evening to the gate which leads from the park to the quarter of ,whitehall4 ,tied to posts at the extremity of the grass plots1 they swill passengers with their milk1 which1 being drawn from their udders upon the spot1 is served1 with all the cleanliness peculiar to the ,english1 in little mugs at the rate of a penny a mug40--,a ,,tea ,,garden 7,plate ,,xv474 ,bagnigge ,house had been the country residence of ,nell ,gwyn1 and in #ageg the then tenant accidentally discovered a chalybeate spring in his grounds1 which two years later he turned to profit4 ,bagnigge ,wells then developed a tea garden1 with arbours1 ponds with fountains and gold-fish1 a bun-house1 music1 and a reputation for the amorous rendezvous4 ,the place was very popular1 and much favoured1 especially on ,sundays1 by the would-be fashionable wives of well-to-do city-folk4 ,in the character of 8,madam ,fussock0 ,colman took this off in his prologue to ,garrick's ,drury ,lane farce1 8,bon ,ton2 or ,high ,life above ,stairs10 #aggf4--,,the ,,lass ,,of ,,livingstone 7,plate ,,xvi474 ,a popular old ,scotch song1 words by ,allan ,ramsay4 ,there is also an older version1 8,the ,bonnie ,lass o' ,liviston10 associated with an actual person who kept a public-house in the parish of ,livingstone4 ,,lady ,,cockerell ,,as ,a ,,gipsy ,,woman 7,plate ,,xix474 ,one of the beautiful daughters of ,sir ,john and ,lady ,rushout1 whose miniatures are1 perhaps1 ,plimer's masterpieces4--,,lady ,,duncannon 7,plate ,,xx474 ,one of the 8,portraits of ,four ,ladies of ,quality10 exhibited by ,downman at the ,royal ,academy in #aghh4 ,there are also colour-prints of ,viscountess ,duncannon after ,lavinia1 ,countess ,spencer and ,cosway1 and1 with her more famous sister1 ,georgiana1 ,duchess of ,devonshire1 after ,angelica ,kauffman2 while they both figure1 with other fashionable beauties1 in ,j4 ,k4 ,sherwin's picture 8,the ,finding of ,moses10 also in ,rowlandson's 8,vauxhall10 and two prints in which the same artist celebrated their triumphant share in the ,westminster election of #aghd1 when it was said that 8two such lovely portraits had never before appeared on a canvass40 ,the ,countess of ,bessborough1 as she became1 was the mother of ,lady ,caroline ,lamb4 ,her distinguished grandson1 ,sir ,spencer ,ponsonby-,fane1 kindly lent the print reproduced here4 ,,rinaldo ,,and ,,armida 7,plate ,,xxii474 ,the enchantment of ,rinaldo1 the ,christian ,knight1 by ,armida1 the beautiful ,oriental sorceress1 in ,tasso's 8,gerusalemme ,liberata40 ,,love ,,and ,,beauty3 ,,marchioness ,,of ,,townshend 7,plate ,,xxiv474 ,one of the three beautiful daughters of ,sir ,william ,montgomery immortalised by ,reynolds on the large canvas now in the ,national ,gallery1 called 8,the ,graces decorating a terminal figure of ,hymen40 ,she married the distinguished general who finished the battle of ,quebec when ,wolfe had fallen4 ,,two ,,bunches ,a ,,penny1 ,,primroses 7,plate ,,xxv474 ,,knives1 ,,scissors ,,and ,,razors ,,to ,,grind 7,plate ,,xxvi474 ,numbers #a and #f of the ,,cries ,,of ,,london4 ,the other plates are3 #b1 ,milk below1 ,maids4 #c1 ,sweet ,china ,oranges4 #d1 ,do you want any ,matches8 #e1 ,new ,mackerel4 #g1 ,fresh ,gathered ,peas4 #h1 ,duke ,cherries4 #i1 ,strawberries4 #aj1 ,old ,chairs to ,mend4 #aa1 ,a new ,love-song4 #ab1 ,hotspice ,gingerbread1 two plates4 #ac1 ,turnips and ,carrots4 ,there are still in existence two or three paintings of similar character by ,wheatley--one depicting a man selling copper kettles--which would suggest1 besides the belated publication of the thirteenth plate1 that it was originally intended to issue a larger number of the 8,cries0 than those we know1 had the public encouragement warranted it4 ,the colour-printing of the earliest impressions was superlatively fine1 and in the original pink board-wrappers these are1 of course1 extremely rare1 and would realize to-day as much as a thousand pounds4 ,,mrs4 ,,crewe 7,plate ,,xxvii474 ,the famous beauty1 ,fulke ,greville's daughter4 ,it was to her house in ,lower ,grosvenor ,street that the triumphant 8true blues0--the ,prince of ,wales among them--crowded in the evening to toast ,fox's victory at ,westminster4 ,reynolds has perpetuated ,mrs4 ,crewe's rare beauty on three canvasses1 and ,sheridan in dedicating to her 8,the ,school for ,scandal0 did reverence to her mind as well as her features4 ,fox poetised in her praise1 and ,fanny ,burney said 8,she is certainly the most completely a beauty of any woman ,i ever saw6 ,she uglifies everything near her40--,,the ,,dance 7,plate ,,xxviii474 ,the tradition1 lately repeated in book and periodical1 which gives the figures in this print as those of the ,gunning sisters1 is obviously absurd4 ,when ,bunbury was an infant in arms the beauty of the ,gunnings first took the town by storm2 next year ,maria became a countess1 ,elizabeth a duchess1 and1 when this print was done the one had been dead twenty-two years1 the other already widowed and 8double duchessed10 as ,horace ,walpole put it4--,,morning ,,employments 7,plate ,,xxix474 ,the name on the harpsichord should obviously be ,jacobus ,kirkman2 there was no ,thomas4 ,the instrument with the double keyboard is exactly like that in my own possession1 which ,dr4 ,burney selected from ,jacob ,kirkman's shop in #agfh4 ,when a fashionable craze for the guitar was sending the makers of harpsichords and spinets very near to bankruptcy1 ,kirkman bought up all his own fine instruments1 which the ladies were practically 8giving away0 for guitars2 then he purchased a lot of cheap guitars and presented them to milliner's girls and street-singers1 so that they were twanged everywhere and became vulgar1 the ladies bought harpsichords again1 and he made a large fortune4 ,,mademoiselle ,,parisot 7,plate ,,xxxvii474 ,a noted dancer in the opera ballets at the ,king's ,theatre in the ,haymarket4 ,there is a beautiful mezzotint of her1 dated #agig1 by ,j4 ,r4 ,smith after ,a4 ,w4 ,devis4 ,this is very rare1 and in colours extremely so4 ,mdlle4 ,parisot also figures as one of the three dancers in ,gillray's caricature 8,operatical ,reform1 or ,la ,danse l',evque10 published in #agih to ridicule the ,bishop of ,durham's protest against the scanty attire of the ballet-dancers4--,,maria 7,plate ,,xxxviii474 ,maria of ,moulines1 in ,sterne's 8,sentimental ,journey40 ,,malcolm ,c4 ,,salaman4 ,illustration3 ,,plate ,i4 8,jane1 ,countess of ,harrington1 ,lord ,viscount ,petersham and the ,hon4 ,lincoln ,stanhope40 ,stipple-,engraving by ,f4 ,bartolozzi1 ,r4,a41 after ,sir ,joshua ,reynolds1 ,p4,r4,a4 7,published #aghi4 ,size #h #aa47 ,from the collection of ,major ,e4 ,f4 ,coates1 ,m4,p4 ,illustration3 ,,plate ,,ii4 8,robinetta40 ,stipple-,engraving by ,john ,jones1 after ,sir ,joshua ,reynolds1 ,p4,r4,a4 7,published #aghg4 ,size #h #aj47 ,from the collection of ,major ,e4 ,f4 ,coates1 ,m4,p4 ,illustration3 ,,plate ,,iii4 8,master ,henry ,hoare40 ,stipple-,engraving by ,c4 ,wilkin1 after ,sir ,joshua ,reynolds1 ,p4,r4,a4 7,published #aghi4 ,size #g #i47 ,from the collection of ,major ,e4 ,f4 ,coates1 ,m4,p4 ,illustration3 ,,plate ,,iv4 8,the ,duchess of ,devonshire and ,lady ,georgiana ,cavendish40 ,mezzotint-,engraving by ,geo4 ,keating1 after ,sir ,joshua ,reynolds1 ,p4,r4,a4 7,published #aghg4 ,size #ae #ab47 ,from the collection of ,frederick ,behrens1 ,esq4 ,illustration3 ,,plate ,v4 8,the ,mask40 ,stipple-,engraving by ,l4 ,schiavonetti1 after ,sir ,joshua ,reynolds1 ,p4,r4,a4 7,published #agij4 ,size #i #g47 ,from the collection of ,major ,e4 ,f4 ,coates1 ,m4,p4 ,illustration3 ,,plate ,,vi4 8,bacchante0 7,lady ,hamilton74 ,stipple-,engraving by ,c4 ,knight1 after ,george ,romney4 7,published #agig4 ,size #aj #ab47 ,from the collection of ,frederick ,behrens1 ,esq4 ,illustration3 ,,plate ,,vii4 8,mrs4 ,jordan in the character of #8,the ,country ,girl'0 78,the ,romp074 ,stipple-,engraving by ,john ,ogborne1 after ,george ,romney4 7,published #aghh4 ,size #i #ab47 ,from the collection of ,major ,e4 ,f4 ,coates1 ,m4,p4 ,illustration3 ,,plate ,,viii4 8,hobbinol and ,ganderetta40 ,stipple-,engraving by ,p4 ,w4 ,tomkins1 after ,thos4 ,gainsborough1 ,r4,a4 7,published #agij4 ,size #ad #ah47 ,from the collection of ,basil ,dighton1 ,esq4 ,illustration3 ,,plate ,,ix4 8,countess of ,oxford40 ,mezzotint-,engraving by ,s4 ,w4 ,reynolds1 after ,j4 ,hoppner1 ,r4,a4 7,published #agii4 ,size #h-a_/ #aj47 ,from the collection of ,frederick ,behrens1 ,esq4 ,illustration3 ,,plate ,x4 8,viscountess ,andover40 ,stipple-,engraving by ,c4 ,wilkin1 after ,j4 ,hoppner1 ,r4,a4 7,published #agig4 ,size #f #h47 ,from the collection of ,major ,e4 ,f4 ,coates1 ,m4,p4 ,illustration3 ,,plate ,,xi4 8,the ,squire's ,door40 ,stipple-,engraving by ,b4 ,duterreau1 after ,george ,morland4 7,published #agij4 ,size #ab-_/d #ae47 ,from the collection of ,basil ,dighton1 ,esq4 ,illustration3 ,,plate ,,xii4 8,the ,farmer's ,door40 ,stipple-,engraving by ,b4 ,duterreau1 after ,george ,morland4 7,published #agij4 ,size #ab #ae47 ,from the collection of ,basil ,dighton1 ,esq4 ,illustration3 ,,plate ,,xiii4 8,a ,visit to the ,boarding ,school40 ,mezzotint-,engraving by ,w4 ,ward1 ,a4,r4,a41 after ,george ,morland4 7,published #aghi4 ,size #ba #ag47 ,from the collection of ,basil ,dighton1 ,esq4 ,illustration3 ,,plate ,,xiv4 8,st4 ,james's ,park40 ,stipple-,engraving by ,f4 ,d4 ,soiron1 after ,george ,morland4 7,published #agij4 ,size #ai #af47 ,from the collection of ,basil ,dighton1 ,esq4 ,illustration3 ,,plate ,,xv4 8,a ,tea ,garden40 ,stipple-,engraving by ,f4 ,d4 ,soiron1 after ,george ,morland4 7,published #agij4 ,size #ai #af47 ,from the collection of ,basil ,dighton1 ,esq4 ,illustration3 ,,plate ,,xvi4 8,the ,lass of ,livingstone40 ,stipple-,engraving by ,t4 ,gaugain1 after ,george ,morland4 7,published #aghe4 ,size #aa #i47 ,from the collection of ,major ,e4 ,f4 ,coates1 ,m4,p4 ,illustration3 ,,plate ,,xvii4 8,rustic ,employment40 ,stipple-,engraving by ,j4 ,r4 ,smith1 after ,george ,morland4 7,published #aghh4 ,size #i #ab47 ,from the collection of ,frederick ,behrens1 ,esq4 ,illustration3 ,,plate ,,xviii4 8,the ,soliloquy40 ,stipple-,engraving by and after ,william ,ward1 ,a4,r4,a4 7,published #aghg4 ,size #g #aa47 ,from the collection of ,frederick ,behrens1 ,esq4 ,illustration3 ,,plate ,,xix4 8,harriet1 ,lady ,cockerell as a ,gipsy ,woman40 ,stipple-,engraving by ,j4 ,s4 ,agar1 after ,richard ,cosway1 ,r4,a4 7,published #ahaj4 ,size #h #aa47 ,from the collection of ,frederick ,behrens1 ,esq4 ,illustration3 ,,plate ,,xx4 8,lady ,duncannon40 ,stipple-,engraving by ,f4 ,bartolozzi1 ,r4,a41 after ,john ,downman1 ,a4,r4,a4 7,published #agig4 ,size #f #g47 ,from the collection of ,rt4 ,hon4 ,sir ,spencer ,ponsonby-,fane1 ,g4,c4,b4 ,illustration3 ,,plate ,,xxi4 8,cupid bound by ,nymphs40 ,stipple-,engraving by ,w4 ,w4 ,ryland1 after ,angelica ,kauffman1 ,r4,a4 7,published #aggg4 ,size #aa47 ,from the collection of ,major ,e4 ,f4 ,coates1 ,m4,p4 ,illustration3 ,,plate ,,xxii4 8,rinaldo and ,armida40 ,stipple-,engraving by ,thomas ,burke1 after ,angelica ,kauffman1 ,r4,a4 7,published #agie4 ,size #aj #ac47 ,from the collection of ,frederick ,behrens1 ,esq4 ,illustration3 ,,plate ,,xxiii4 8,angelica ,kauffman in the character of ,design listening to the ,inspiration of ,poetry40 ,stipple-,engraving by ,thomas ,burke1 after ,angelica ,kauffman1 ,r4,a4 7,published #aghg4 ,size #ab47 ,from the collection of ,major ,e4 ,f4 ,coates1 ,m4,p4 ,illustration3 ,,plate ,,xxiv4 8,love and ,beauty0 7,marchioness of ,townshend74 ,stipple-,engraving by ,thomas ,cheesman1 after ,angelica ,kauffman1 ,r4,a4 7,published #agib and #agie4 ,size #aj #ab47 ,from the collection of ,basil ,dighton1 ,esq4 ,illustration3 ,,plate ,,xxv4 8,two ,bunches a ,penny1 ,primroses0 78,cries of ,london074 ,stipple-,engraving by ,l4 ,schiavonetti1 after ,f4 ,wheatley1 ,r4,a4 7,published #agic4 ,size #aj #ad47 ,from the collection of ,basil ,dighton1 ,esq4 ,illustration3 ,,plate ,,xxvi4 8,knives1 ,scissors and ,razors to ,grind0 78,cries of ,london074 ,stipple-,engraving by ,g4 ,vendramini1 after ,f4 ,wheatley1 ,r4,a4 7,published #agie4 ,size #aa #ad47 ,from the collection of ,mrs4 ,julia ,frankau4 ,illustration3 ,,plate ,,xxvii4 8,mrs4 ,crewe40 ,stipple-,engraving by ,thos4 ,watson1 after ,daniel ,gardner4 7,published #aghj4 ,size #f #h-a_/47 ,from the collection of ,major ,e4 ,f4 ,coates1 ,m4,p4 ,illustration3 ,,plate ,,xxviii4 8,the ,dance40 ,stipple-,engraving by ,f4 ,bartolozzi1 ,r4,a41 after ,h4 ,w4 ,bunbury4 7,published #aghb4 ,size #aa47 ,from the collection of ,major ,e4 ,f4 ,coates1 ,m4,p4 ,illustration3 ,,plate ,,xxix4 8,morning ,employments40 ,stipple-,engraving by ,p4 ,w4 ,tomkins1 after ,h4 ,w4 ,bunbury4 7,published #aghi4 ,size #ad47 ,from the collection of ,basil ,dighton1 ,esq4 ,illustration3 ,,plate ,,xxx4 8,the ,farm-,yard40 ,stipple-,engraving by ,william ,nutter1 after ,henry ,singleton4 7,published #agij4 ,size #i #aa47 ,from the collection of ,basil ,dighton1 ,esq4 ,illustration3 ,,plate ,,xxxi4 8,the ,vicar of the ,parish receiving his ,tithes40 ,stipple-,engraving by ,thomas ,burke1 after ,henry ,singleton4 7,published #agic4 ,size #ab #ad47 ,from the collection of ,basil ,dighton1 ,esq4 ,illustration3 ,,plate ,,xxxii4 8,the ,english ,dressing-,room40 ,stipple-,engraving by ,p4 ,w4 ,tomkins1 after ,chas4 ,ansell4 7,published #aghi4 ,size #g #i47 ,from the collection of ,frederick ,behrens1 ,esq4 ,illustration3 ,,plate ,,xxxiii4 8,the ,french ,dressing-,room40 ,stipple-,engraving by ,p4 ,w4 ,tomkins1 after ,chas4 ,ansell4 7,published #aghi4 ,size #g #i47 ,from the collection of ,frederick ,behrens1 ,esq4 ,illustration3 ,,plate ,,xxxiv4 8,january0 78,the ,months074 ,stipple-,engraving by ,f4 ,bartolozzi1 ,r4,a41 after ,wm4 ,hamilton1 ,r4,a4 7,published #aghh4 ,size #aj #ab47 ,from the collection of ,j4 ,h4 ,edwards1 ,esq4 ,illustration3 ,,plate ,,xxxv4 8,virtuous ,love0 7from ,thomson's 8,seasons074 ,stipple-,engraving by ,f4 ,bartolozzi1 ,r4,a41 after ,wm4 ,hamilton1 ,r4,a4 7,published #agic4 ,size #f #e47 ,from the collection of ,frederick ,behrens1 ,esq4 ,illustration3 ,,plate ,,xxxvi4 8,the ,chanters40 ,stipple-,engraving by ,j4 ,r4 ,smith1 after ,rev4 ,matthew ,w4 ,peters1 ,r4,a4 7,published #aghg4 ,size #g47 ,from the collection of ,frederick ,behrens1 ,esq4 ,illustration3 ,,plate ,,xxxvii4 8,mdlle4 ,parisot40 ,stipple-,engraving by ,c4 ,turner1 ,a4,r4,a41 after ,j4 ,j4 ,masquerier4 7,published #agii4 ,size #f #h47 ,from the collection of ,mrs4 ,julia ,frankau1 to whom it was presented by the late ,sir ,henry ,irving4 ,illustration3 ,,plate ,,xxxviii4 8,maria40 ,stipple-,engraving by ,p4 ,w4 ,tomkins1 after ,j4 ,russell1 ,r4,a4 7,published #agia4 ,size #d #f47 ,from the collection of ,frederick ,behrens1 ,esq4 ,illustration3 ,,plate ,,xxxix4 8,commerce40 ,stipple-,engraving by ,m4 ,bovi1 after ,j4 ,b4 ,cipriani1 ,r4,a4 and ,f4 ,bartolozzi1 ,r4,a4 7,published #agie4 ,size #ah #g47 ,from the collection of ,basil ,dighton1 ,esq4 ,illustration3 ,,plate ,,xl4 8,the ,love-,letter40 ,a very rare ,stipple-,engraving1 probably by ,thos4 ,cheesman4 and ,f4 ,bartolozzi1 ,r4,a4 7,size #h #f47 ,from the collection of ,major ,e4 ,f4 ,coates1 ,m4,p4