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 Old English mezzotints; 
 
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OLD ENGLISH 
 MEZZOTINTS 
 
 TEXT BY 
 MALCOLM C. SALAMAN 
 
 (author of ^OLD ENGLISH COLOUR-PRINTS ' 
 AND /1-HE OLD ENGRAVERS OF ENGLAND') 
 
 EDITED BY 
 CHARLES HOLME 
 
 MCMX. 
 
 c THE STUDIO' LTD. 
 
 LONDON, PARIS, NEW YORK 
 
 \^£; 
 
^.^,5o2,i:°^ 
 
 '/ f "'-/:« t- Ctrci, 
 
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PREFATORY NOTE. 
 
 The Editor desires to acknowledge his indebtedness to the following 
 collectors who have kindly allowed their prints to be reproduced 
 in this volume : — Mrs. Julia Frankau, Lady Russell, Mr. Basil 
 Dighton, Mr. Henry Percy Home, Dr. Joule, Mr. John Lane, 
 Mr. W. H. Lever^ Mr. Ernest Raphael, Mr. Fritz Reiss, 
 Mr. Frank T. Sabin, and Mr. Fred. Stratton. The Editor also 
 wishes to express his thanks to Mr. Malcolm C. Salaman, who, in 
 addition to contributing the letterpress, has rendered valuable 
 assistance in various other ways in the preparation of this volume. 
 
LIST OF ILLUSTRATIONS. 
 
 PLATE. 
 
 I. " Head of a Girl." By Prince Rupert. From a print in 
 the Collection of Mr. Henry Percy Home. 
 n. " Mrs. Mary Davis." By Gerard Valck, after Sir Peter Lely. 
 From a print in the Collection of Mr. Henry Percy Home. 
 
 III. " William, Prince of Orange." By Abraham Blooteling, after 
 
 Sir Peter Lely. From a print in the Collection of 
 Mr. Henry Percy Home. 
 
 IV. " Lady Williams." By Isaac Beckett, after William Wissing. 
 
 From a print in the Collection of Mr. Henry Percy Home. 
 V. " Gottfried Schalcken." By John Smith, after G. Schalcken. 
 
 From a print in the Collection of Dr. Joule. 
 VI. " Mrs. Arabella Hunt." By John Smith, after Sir G. Kneller. 
 From a print in the possession of Mr. Frank T. Sabin. 
 VII. " Colley Cibber." By John Simon, after Grisoni. From a 
 print in the British Museum. 
 VIII. " William Dobson." By George White, after William Dobson. 
 From a print in the British Museum. 
 IX. "Lady Christiana Moray of Abercairny." By John Faber, 
 after J. Davison. From a print in the Collection of 
 Mr. Henry Percy Home. 
 X. " Mrs. Ellen Gwynn." By P. van Bleeck, after Sir Peter Lely. 
 From a print in the Collection of Mr. Henry Percy Home. 
 XI. " Lords John and Bernard Stuart." By James McArdell, after 
 Sir Antony Vandyck. From a print in the Collection of 
 Mr. Henry Percy Home. 
 XII. " Elizabeth, Comtesse de Grammont." By James McArdell, 
 after Sir Peter Lely. From a print in the Collection 
 of Mr. Fritz Reiss. 
 
 XIII. "Mary, Duchess of Ancaster." By James McArdell, after T. 
 
 Hudson. From a print in the Collection of Mr. Fritz Reiss. 
 
 XIV. " Pride." By James McArdell, after C. A. Coypel. From a 
 
 print in the Collection of Mrs. Julia Frankau. 
 XV. " Lady Mary Coke." By James McArdell, after Allan Ramsay. 
 From a print in the Collection of Mr. Henry Percy Home. 
 XVI. " Miss Kitty Gunning." By Richard Houston, after Francis 
 Cotes. From a print in the Collection of Mr. Henry 
 Percy Home. 
 XVII. " Woman Plucking a Fowl." By Richard Houston, after 
 Rembrandt. From a print in the Collection of Mr. 
 Henry Percy Home. 
 XVIII. " Caroline, Duchess of Marlborough, and Daughter." By 
 Richard Houston, after Sir Joshua Reynolds. From a 
 print in the possession of Mr. Frank T. Sabin. 
 
PLATE. 
 
 XIX. " Miss Harriett Powell." By Richard Houston, after Sir 
 
 Joshua Reynolds. From a print in the possession of 
 
 Mr. Basil Dighton. 
 XX. "John, Viscount Ligonier." By Edward Fisher, after 
 
 Sir Joshua Reynolds. From a print in the possession 
 
 of Mr. Frank T. Sabin. 
 XXI. "Mrs. Paul Sandby " ("The Nut-brown Maid"). 
 
 By Edward Fisher, after Francis Cotes. From a print 
 
 in the Collection of Mr. Henry Percy Home. 
 XXII. " Mrs. Hale, as ' Euphrosyne.' " By James Watson, after 
 
 Sir Joshua Reynolds. From a print in the Collection 
 
 of Mr. W. H. Lever. 
 
 XXIII. " The Oyster-Woman." By Philip Dawe, after Henry 
 
 Morland. From a print in the possession of Mr. 
 Frank T. Sabin. 
 
 XXIV. "A Philosopher giving a Lecture on the Orrery." 
 
 By William Pether, after Joseph Wright of Derby. 
 From a print in the British Museum. 
 XXV. " Duchess of Hamilton and Argyll." By John Finlayson, 
 after Catherine Read. From a print in the Collection 
 of Mr. Henry Percy Home. 
 XXVI. " Madame Anna Zamperini." By John Finlayson, after 
 Nathaniel Hone. From a print in the Collection of 
 Mr. John Lane. 
 XXVII. "A Shepherd Boy in a Storm." By Richard Earlom, 
 after Thos. Gainsborough. From a print in the 
 Collection of Mr. Henry Percy Home. 
 XXVIII. "A Blacksmith's Shop." By Richard Earlom, after 
 Joseph Wright of Derby. From a print in the 
 British Museum. 
 XXIX. " Marriage a la Mode." Plate I.—" The Peer's Drawing- 
 room." By Richard Earlom, after William Hogarth. 
 From a print in the British Museum. 
 XXX. " Mary Amelia, Countess of Salisbury." By Valentine 
 Green, after Sir Joshua Reynolds. From a print in 
 the possession of Mr. Basil Dighton. 
 XXXI. " Mary Isabella, Duchess of Rutland." By Valentine 
 Green, after Sir Joshua Reynolds. From a print in 
 the British Museum. 
 XXXII. " Louise, Countess of Aylesford." By Valentine Green, 
 after Sir Joshua Reynolds. From a print in the 
 Collection of Mr. Ernest Raphael. 
 XXXIII. "Jane, Countess of Harrington." By Valentine Green, 
 after Sir Joshua Reynolds. From a print in the 
 Collection of Mr. Ernest Raphael. 
 vi 
 
PLATE. 
 
 XXXIV. "Lady Jane Halliday." By Valentine Green, after Sir 
 Joshua Reynolds. From a print in the possession 
 of Mr. Frank T. Sabin. 
 XXXV. " The Ladies Waldegrave." By Valentine Green, after 
 Sir Joshua Reynolds. From a print in the Collec- 
 tion of Mr. Fritz Reiss. 
 XXXVL " Lady Elizabeth Compton." By Valentine Green, 
 after Sir Joshua Reynolds. From a print in the 
 possession of Mr. Basil Dighton. 
 XXXVIL " Mrs. Fordyce." By Valentine Green, after Angelica 
 Kauffman. From a print in the Collection of Mr. 
 Henry Percy Home. 
 XXXV in. " The Three Graces decorating a Terminal Figure of 
 Hymen." By Thomas Watson, after Sir Joshua 
 Reynolds. From a print in the Collection of Mr. 
 W. H. Lever. 
 XXXIX. "Lady Bampfylde." By Thomas V^atson, after Sir 
 Joshua Reynolds. From a print in the Collection 
 of Mr. Fritz Reiss. 
 XL. " Warren Hastings." By Thomas Watson, after Sir 
 Joshua Reynolds. From a print in the Collection 
 of Mr. Henry Percy Home. 
 XLI. " Rebecca, Lady Rushout and Children." By Thomas 
 Watson, after Daniel Gardner. From a print in 
 the Collection of Mr. Fritz Reiss. 
 XLII. " Miss Kitty Dressing." By Thomas Watson, after 
 Joseph Wright of Derby. From a print in the 
 possession of Mr. Frank T. Sabin. 
 XLIII. " Diana, Viscountess Crosbie." By William Dickinson, 
 after Sir Joshua Reynolds. From a print in the 
 Collection of Mr. Ernest Raphael. 
 XLIV. " Miss Benedetta Ramus." By William Dickinson, 
 after George Romney. From a print in the Collec- 
 tion of Mr. Ernest Raphael. 
 XLV. " Madame Giovanna Baccelli." By John Jones, after 
 Thos. Gainsborough. From a print in the Collec- 
 tion of Mr. Ernest Raphael. 
 XLVI. " Mrs. Davenport." By John Jones, after Geo. Romney. 
 From a print in the Collection of Mr. Fritz Reiss. 
 XLVII. " Edmund Burke." By John Jones, after George 
 Romney. From a print in the Collection of Dr. 
 Joule. 
 XLVIII. "Black Monday, or the Departure for School." By 
 John Jones, after W. R. Bigg. From a print in the 
 British Museum. 
 
 vu 
 
PLATE. 
 
 XLIX. " Dulce Domum, or the Return from School." By 
 John Jones, after W. R. Bigg. From a print in the 
 British Museum. 
 L. " Miss Frances Woodley." By James Walker, after 
 George Romney. From a print in the Collection of 
 Mr. Ernest Raphael. 
 LI. " Lady Isabella Hamilton." By James Walker, after 
 George Romney. From a print in the Collection of 
 Mr. Fritz Reiss. 
 LII. " Mrs. Musters." By James Walker, after George 
 Romney. From a print in the Collection of Dr. Joule. 
 LIII. "John Walter Tempest." By James Walker, after George 
 Romney. From a print in the Collection of Dr. Joule. 
 LIV. " Hannah teaching Samuel to read." By James Walker, 
 after Rembrandt. From a print in the possession 
 of Mr. Fred, Stratton. 
 LV. " Elizabeth, Countess of Derby." By John Dean, after 
 George Romney. From a print in the Collection 
 of Dr. Joule. 
 LVI. " Colonel Barnastre Tarleton." By J. R. Smith, after Sir 
 Joshua Reynolds. From a print in the Collection 
 of Mr. Fritz Reiss. 
 LVII. " Mrs. Payne-Gallwey and Son." By J. R. Smith, after 
 Sir Joshua Reynolds. From a print in the Collection 
 of Mr. Henry Percy Home. 
 LVIII. "Mrs. Carnac." By J. R. Smith, after Sir Joshua 
 Reynolds. From a print in the Collection of Mr. 
 Henry Percy Home. 
 LIX. "The Clavering Children." By J. R. Smith, after 
 George Romney. From a print in the Collection of 
 Mr. Fritz Reiss. 
 LX. "The Gower Family." By J. R. Smith, after George 
 Romney. From a print in the Collection of Mr. 
 Ernest Raphael. 
 LXI. "Serena" (Miss Sneyd). By J. R. Smith, after George 
 Romney. From a print in the Collection of Dr. Joule. 
 LXII. "Miss Cumberland." By J. R. Smith, after George 
 Romney. From a print in the Collection of Mr. Fritz 
 Reiss. 
 LXIII. "Mrs. Robinson." By J. R. Smith, after George 
 Romney. From a print in the possession of Mr. 
 Frank T. Sabin. 
 LXIV. " Mrs. Carwardine and Child." By J. R. Smith, after 
 George Romney. From a print in the Collection 
 of Mr. Fritz Reiss. 
 viii 
 
PLATE. 
 
 LXV. " Mrs. Stables and Family." By J. R. Smith, after 
 George Romney. From a print in the possession ot 
 Mr. Basil Dighton. 
 LXVI. "The Fruit Barrow" ("The Walton Family"). By 
 J. R. Smith, after Henry Walton. From a print in 
 the Collection of Mr. Henry Percy Home. 
 LXVII. "Sir Harbord Harbord." By J. R. Smith, after Thos. 
 Gainsborough. From a print in tlie Collection of 
 Mr. Ernest Raphael. 
 LXVni. "Mrs. Phoebe Hoppner " ("Sophia Western"). By 
 J. R. Smith, after John Hoppner. From a print in 
 the possession of Mr. Frank T. Sabin. 
 LXIX. "The Fortune-Teller." By J. R. Smith, after Rev. 
 Matthew W. Peters. From a print in the Collection 
 of Mrs. Julia Frankau. 
 LXX. " Lady Elizabeth Compton." By J. R. Smith, after Rev. 
 Matthew W. Peters. From a print in the possession 
 of Mr. Basil Dighton. 
 LXXI. " Love in Her Eyes Sits Playing." By J. R. Smith, 
 after Rev. Matthew W. Peters. From a print in the 
 Collection of Mr. Fritz Reiss. 
 LXXn. " Mdlle. Parisot." By J. R. Smith, after A. W. Devis. 
 From a print in the possession of Mr. Frank T. 
 Sabin. 
 LXXin. " Return from Market." By J. R. Smith, after George 
 Morland. From a print in the possession of Mr. 
 Basil Dighton. 
 LXXIV. " A Lady in Waiting." Designed and engraved by 
 J. R. Smith. From a print in the Collection of 
 Mr. Henry Percy Home. 
 LXXV. " A Man-Trap." Designed and engraved by J. R. 
 Smith. From a print in the possession of Mr. 
 Frank T. Sabin. 
 LXXVL " The Promenade at Carlisle House." Designed and 
 engraved by J. R. Smith. From a print in the 
 Collection of Mr. Henry Percy Home. 
 LXXVn. " A Christmas Holiday." Designed and engraved by 
 J. R. Smith. From a print in the possession ot 
 Mr. Frank T. Sabin. 
 LXXVHL "The Singing-Bird." Presumably designed and en- 
 graved by J. R. Smith. From a print in the 
 possession of Mr. Frank T. Sabin. 
 LXXIX. " EHzabeth, Countess of Mexborough." By William 
 Ward, after John Hoppner. From a print in the 
 possession of Mr. Basil Dighton. 
 
 ix 
 
PLATF 
 
 LXXX. "The Salad Girl" ("Mrs. Phcebe Hoppner"). 
 By William Ward, after John Hoppner. From a 
 print in the Collection of Mr. Henry Percy Home. 
 LXXXI. " Daughters of Sir Thomas Frankland " (" The 
 Sisters "). By Wm. Ward, after John Hoppner. 
 From a print in the possession of Mr. Basil Dighton. 
 LXXXII. " The Snake in the Grass." By WilUam Ward, after 
 Sir Joshua Reynolds. From a print in the Collec- 
 tion of Mr. Henry Percy Home. 
 LXXXIII. "The Kite Entangled." By William Ward, after 
 George Morland. From a print in the Collection 
 ot Mrs. Julia Frankau. 
 LXXXI V. " Bhndman's Buff." By WiUiam Ward, after George 
 Morland. From a print in the possession of Mr. 
 Basil Dighton. 
 LXXXV. " Cottagers." By William Ward, after George Morland. 
 From a print in the possession of Mr. Basil Dighton. 
 LXXXVI. "The Contented Waterman." By William Ward, 
 after George Morland. From a print in the posses- 
 sion of Mr. Frank T. Sabin. 
 LXXXVII. " The Pleasures of Retirement." By William Ward, 
 after George Morland. From a print in the 
 possession of Mr. Frank T. Sabin. 
 LXXXVIII. "The Pledge of Love." By William Ward, after 
 George Morland. From a print in the possession 
 of Mr. Frank T. Sabin. 
 LXXXIX. " The Coquette at her Toilet." By William Ward, 
 after George Morland. From a print in the 
 Collection of Mrs. Julia Frankau. 
 XC. " Compassionate Children." By Wilham Ward, after 
 James Ward. From a print in the possession of 
 Mr. Frank T. Sabin. 
 XCL "Children Bathing" (the Children of John Hoppner). 
 By James Ward, after John Hoppner. From a 
 print in the possession of Mr. Basil Dighton. 
 XCn. "The Angry Father." By James Ward, after John 
 
 Opie. From a print in the British Museum. 
 XCin. " A Boy Employed in Burning Weeds." By James 
 Ward, after George Morland. From a print in 
 the possession of Mr. Basil Dighton. 
 XCIV. " Fishermen." By J. Ward, after Geo. Morland. From 
 a print in the possession of Mr. Frank T. Sabin. 
 XCV. " Guardian Angels." By C. H. Hodges, after Sir 
 Joshua Reynolds. From a print in the possession 
 of Mr. Basil Dighton. 
 
PLATE 
 
 XCVl. " The Setting Sun " ('' The Godsall Children "). By John 
 Young, after John Hoppner. From a print in the 
 Collection of Mr. Henry Percy Home. 
 XCVII. " Lady Lambton and Family." By John Young, after 
 John Hoppner. From a print in the Collection of 
 Mr. Henry Percy Home. 
 XCVni. "The Show." By John Young, after John Hoppner. 
 From a print in the possession of Mr. Frank T. Sabin. 
 XCIX. " Young Lady at Her Toilet." By John Young, after 
 G.Watson. From a print in the Collection of Dr. Joule. 
 C. " Colonel St. Leger." By G. Dupont, after Thos. Gains- 
 borough. From a print in the Collection of Dr. Joule. 
 CL " Hon. Mrs. Watson." By Thos. Park, after Thos. Gains- 
 borough. From a print in the Collection of Mr. 
 Henry Percy Home. 
 Cn. "Children at Play" ("The Oddie Children"). By 
 Thos. Park, after Sir William Beechey. From a 
 print in the British Museum. 
 CIIL " Miss Meyer, as ' Hebe.' " By John Jacobe, after Sir 
 Joshua Reynolds. From a print in the Collection of 
 Mr. W. H. Lever. 
 CIV. "Hon. Mary Monckton." By John Jacobe, after Sir 
 Joshua Reynolds. From a print in the possession of 
 Mr. Basil Dighton. 
 CV. " Departure from Brighton." By J. Murphy, after 
 F. Wheatley. From a print in the possession of Mr. 
 Frank T. Sabin. 
 CVL " The Perilous Situation of Major Money and his Balloon 
 at Sea." By John Murphy, after Philip Reinagle. 
 From a print in the possession of Mr. Frank T. Sabin. 
 CVn. "The Deserter" (Plate IV.). By George Keating, 
 after George Morland. From a print in the Col- 
 lection of Mrs. Julia Frankau. 
 CVIII. "Children Playing at Soldiers." By George Keating, 
 after George Morland. From a print in the Collec- 
 tion of Mrs. Julia Frankau. 
 CIX. " Temptation." By W. Humphrey, after George Morland. 
 From a print in the possession of Mr. Basil Dighton. 
 ex. " Mrs. Curtis." By Henry Hudson, after Henry Walton. 
 
 From a print in the British Museum. 
 CXI. " Children Nutting." By E. Dayes, after G. Morland. 
 From a print in the Collection of Mrs. Julia Frankau. 
 CXII. "Youth Diverting Age." By Joseph Grozer, after 
 George Morland. From a print in the possession of 
 Mr. Frank T. Sabin. 
 
 xi 
 
PLATE. 
 
 CXIII. 
 
 CXIV. 
 
 cxv. 
 
 CXVI. 
 
 CXVII. 
 
 CXVIII. 
 
 CXIX. 
 
 cxx. 
 
 CXXI. 
 
 CXXII. 
 
 CXXIII. 
 
 CXXIV. 
 
 cxxv. 
 
 CXXVI. 
 CXXVII. 
 CXXVIII. 
 xii 
 
 By Charles 
 print in the 
 
 Hon. Frances Harris." By Joseph Grozer, after Sir 
 Joshua Reynolds. From a print in the British 
 Museum. 
 
 • Countess of Cholmondeley and Son." 
 
 Turner, after John Hoppner. From a 
 Collection of Lady Russell. 
 
 • Miss Harriet Cholmondeley." By Charles Turner, 
 
 after John Hoppner. From a print in the Collection 
 of Mr. Henry Percy Home. 
 
 • Lady Louisa Manners, in Peasant Dress." By Charles 
 
 Turner, after John Hoppner. From a print in the 
 
 possession of Mr. Basil Dighton. 
 Lord Nelson." By Charles Turner, after John 
 
 Hoppner. From a print in the Collection of Mr. 
 
 Henry Percy Home. 
 Interior of a Cottage." By Charles Turner, after 
 
 Thos. Gainsborough. From a print in the Collec- 
 tion of Mr. Fritz Reiss. 
 ■ The Female Pedlar." Designed and engraved by 
 
 Charles Turner. From a print in the Collection ot 
 
 Mr. John Lane. 
 Lady Hamilton, as ' Nature '." By H. Meyer, after 
 
 George Romney. From a print in the British Museum. 
 ' Peasant Girl." By W. Say, after Rembrandt. From 
 
 a print in the Collection of Mr. Henry Percy Home. 
 ' Mrs. Arbuthnot." By S. W. Reynolds, after J. Hoppner. 
 
 From a print in the possession of Mr. Basil Dighton. 
 'Mrs. Whitbread." By S. W. Reynolds, after John 
 
 Hoppner. From a print in the possession of Mr. 
 
 Basil Dighton. 
 ' Elizabeth, Marchioness of Exeter." By S. W. 
 
 Reynolds, after Sir Thos. Lawrence. From a print 
 
 in the Collection of Mr. Henry Percy Home. 
 
 • The Smitten Clown." By S. W. Reynolds, after Francis 
 
 Wheatley. From a print in the possession of Mr. 
 Frank T. Sabin. 
 Mrs. Merrick." By S. W. Reynolds, after Sir Joshua 
 Reynolds. From a print in the Collection of Mr. 
 Henry Percy Home. 
 The Mill." By S. W. Reynolds, after Rembrandt. 
 From a print in the Collection of Mr. Henry Percy 
 Home. 
 '■ Lady Acland and Children." By Samuel Cousins, 
 after Sir Thos. Lawrence. From a print in the Col- 
 lection of Mr. Fritz Reiss. 
 
OLD ENGLISH MEZZOTINTS. 
 
 WHEN, in Christie's sale-room, the fine mezzotints ot 
 famihar portraits by Reynolds, Gainsborough, Romney or 
 Hoppner — familiar, perhaps, chiefly through the prints — 
 are being handed round the table, and the amazingly high 
 bidding of eager dealers and collectors, bidding that seems to 
 recognise no conscience save fashion's, is being voiced goadingly 
 from the rostrum, my fancy is wont to travel back to those eighteenth- 
 century days when the London print-shops were full of such prints 
 fresh from the engravers' hands. I think of the fine old engravers 
 themselves, content to sell their prints for the few shillings apiece at 
 which the current demaiid appraised them, little dreaming that, in a 
 hundred years or more, the greasy ink they used would have so dried 
 on the very surface of the inimitable old paper as to give that rich- 
 ness ot bloom which would induce future collectors to pay tor single 
 impressions sums sufficient to have bought for the artists themselves 
 lite annuities. I picture genial, honest Valentine Green, in 1780, at 
 the height of his prosperity, drawing up his " Proposals " for 
 publishing bv subscription his engravings, from the paintings ot 
 Reynolds, ot that sumptuous series of" Beauties of the Present Age," 
 as he called them, which, with no thought of being modest, he 
 offered at fifteen shillings a copy, or twelve shillings to subscribers ; 
 and I wonder what change amazement, and regret, too, in his later 
 days of adversity, would have worked in the benevolent, sensitive 
 face we know so well through Lemuel Abbott's portraiture, could he 
 have foreseen how the twentieth century would value his gracious 
 mezzotints of beautiful high-born women, while ignoring his once 
 popular subject-prints after Benjamin West, so that a brilliant proof 
 of his Duchess of Rutland (Plate XXXL) would sell for just five times 
 the two hundred guineas Sir Joshua charged the Duke for painting 
 the picture. Yet, what compensation of gladness would his artist 
 soul have felt could he have foretold that enthusiastic connoisseurs 
 would visit the Fitzwilliam Museum at Cambridge primarily to see 
 the finest known impression of his lovely Lady Elizabeth Compton 
 (Plate XXXVL) ! John Raphael Smith, too, greatest of them all ; I 
 think of him scraping his masterly mezzotints to supply the mundane 
 needs of his convivial nature and a large family, and printing off the 
 copies only as they were called for, and I wonder whether the 
 genuine artist or the astute business man in him would have been 
 the more moved if, to encourage him on his way to prosperity, his 
 good, helpful friend Angelo, the fencing-master, or, say, good-natured 
 Jack Bannister — Charles Lamb's "beloved" comedian — ^had playfully 
 suggested that impressions from these very copperplates would one 
 day command sums approaching, and even reaching, four figures in 
 
 B I 
 
pounds sterling. Smith, " good easy man," would probably have 
 laughed his jovial laugh, and, laying aside for the day the plate, per- 
 haps oi Mrs. Carnac (Plate LVIIL), The Qower Family (Plate LX.), or 
 The Promenade at Carlisle House (Plate LXXVI.), or whichever copper 
 he happened to be engaged upon, would have called for a bottle — or 
 two, and made merry over the fantastic idea. Yet, what a debt of 
 gratitude we owe to those old mezzotint-engravers, who, in that 
 wonderful second half of the eighteenth century, brought to perfection 
 an exquisite art through which they could interpret delightful 
 masterpieces of the painters' art, in all their spiritual and pictorial 
 vitality, with an appealing charm of tone and suggested colour, and 
 a completeness of impression of the painter's conception, beyond the 
 scope of any other reproductive medium. And, in saying this, I do not 
 forget, or fail to appreciate, all the supreme achievements of the great 
 and noble art of line-engraving, expressing, with greater intellectual 
 energy, pictorial beauty in its dignity and sublimity. But I spoke 
 particularly of delightful pictures, and, being essentially a sympathetic 
 medium, mezzotint, in its power to convey the quality of delight, is 
 incomparable. Could all the interpretative genius of a Marcantonio 
 or a Nanteuil, a Robert Strange or a William Sharp, express, even 
 through the most consummate arrangement of noble and beautiful 
 lines, that subtle, indefinable charm of womanly beauty which 
 delights us in the portraits of Gainsborough, Reynolds and Romney, 
 as sympathetically and engagingly as the mezzotint of a J. R. Smith, 
 a Valentine Green, a McArdell, a Dickinson, or a Thomas 
 Watson .? Sharp's intellectual richness of line could be supreme 
 in its treatment of a Dr. 'John Hunter^ but what would it have made 
 of all the lyric grace of a Lady "Jane Halliday (Plate XXXI V.) caught 
 in a whirl of the wind .? The tender rotundity of Strange's flesh tones 
 even, more delicate, perhaps, than graver and etching-needle had ever 
 compassed, would scarcely have been supple enough for the fond 
 lovehness of Romney's Mrs. Carwardine and Child (Plate LXIV.) ; 
 while the warm delicious "womanity " of Reynolds's Mrs. Payne- 
 Gallwey, playing pick-a-back with her tiny son (Plate LVIL), would, 
 instead of its bountiful expression in mezzotint, have been turned 
 only " to favour and to prettiness " by the sweet and caressing line 
 of Bartolozzi, or even his generous touch in delicate stipple. 
 
 The charm of illimitable suggestion is, above all, the pictorial 
 message of mezzotint, which, offering as it does a range of tone 
 infinite as the very atmosphere, is rich in its capacity for expressing 
 the most delicate harmonies that light can suggest, or the boldest 
 contrasts of shadow, as free from all harshness as nature herself. 
 So the wonderful art of Rembrandt spoke with a new eloquence in 
 the multitudinous tones of mezzotint, and so the great eighteenth- 
 
 2 
 
century painters of England found their finest and most sympathetic 
 interpretation through this supple and beautifully expressive medium. 
 " By this man 1 shall be immortalised," said Reynolds, looking 
 at McArdell's engravings, but v\fhat he said when, in later years, he 
 saw the wonderful plates which some of the masters who followed 
 McArdell made from the greater pictures of his maturity, must be 
 imagined. However, in the beauty and rarity of fine impressions, 
 these mezzotints are of great and increasing worth. Yet their 
 artistic value is no more to-day than it was when they came fresh 
 from the copper-plates, save, of course, for the mellowing influence 
 of time ; and, though fashion has only of late years, in its cult of the 
 antique, accepted the decorative value of the old mezzotints, always 
 there have been art-loving collectors to prize them for their intrinsic 
 worth, their pictorial beauty and historical interest. Collectors, for 
 example, like the late Lord Cheylesmore, whose magnificent collec- 
 tion has so greatly enriched the British Museum, Mr. H. S. 
 Theobald, K.C., Mr. Fritz Reiss, and Mr. Henry Percy Home, than 
 whom there is no judge of a mezzotint with more unerring intuition 
 or authoritative knowledge. We may accept him as the ideal 
 collector. In valuing the merits of a print, he very rightly regards 
 the question of margin as quite immaterial, having no sympathy with 
 those fashionable collectors who will appraise the engraved surface 
 according to the extent of the blank paper surrounding it, and pay 
 proportionately for their fatuity. Nor is he deceived by the costly 
 label "Engraver's Proof" any more than he would be by the various 
 labels of the wine on a Rhine steamer. An "engraver's proof" may 
 be the most exquisite thing imaginable, the consummate exposition 
 of the engraver's intention and accomplishment ; and the plate's 
 fullest capacity for beauty of impression may be in that particular 
 proof as it is not to be found in any other in quite the same 
 perfection, and this must, of course, be the object of the true 
 collector's desire. On the other hand, an "engraver's proof," though 
 it be glorified as a "unique state," may show, and often does 
 show, the faults of the plate before it was finished, faults which 
 the engraver himself has recognised, and marked for improvement. 
 Of course, this would be extremely interesting to the student as 
 showing the progress of the work. But our ideal collector will 
 ask " where is the reasonableness in placing a higher value upon a 
 trial proof of a famous engraving, which does not represent the 
 engraver's finished work, merely because it happens to be the only 
 impression the engraver thought it worth while to take at that 
 particular stage .? " Yet, there was a recent instance at auction of 
 just such a trial proof, certainly showing the work brilliantly, as 
 far as it went, and the amazing price paid was more than double 
 
 B 2 
 
the highest hitherto obtained for the very finest impressions of the 
 completed engraving. However, the purchaser is doubtless happy 
 in having satisfied his fancy for uniqueness at a unique price. 
 
 It is therefore reasonable to presume that, from the true 
 collector's point of view, a print that shall represent the engraving at 
 its best, must, of necessity, be an early and brilliant impression, with all 
 its bloom, and preserved in good condition. For, with mezzotint, more 
 than with any other class of engraving, an early impression is, above all, 
 important, since one taken after the burr raised by the rocking-tool's 
 incisions in the soft copper has worn away, so that no bloom results, 
 misses inevitably the rich full quaUty of the mezzotint. And this 
 must of necessity be the case after a comparatively few impressions 
 have been worked ofF. With a light and delicate mezzotint these 
 would be, perhaps, not more than twenty-five to thirty ; with a 
 deeply-rocked one, of course, a proportionately larger number. 
 Where an engraver used a very delicately rocked ground, as must 
 have been customary with John Dean, for instance, in the case of 
 certain of his prints, perhaps, only two or three really fine im- 
 pressions would be obtainable before the plate showed signs of wear, 
 yet other early copies would still be called " Proofs," even though 
 scarcely worthy of the designation. 
 
 The differentiation of " states " is quite arbitrary, and may be 
 merely a matter of varied inscription, irrespective of quality : indeed, 
 though a "first state" generally implies a " proof" — not, of course, 
 an "engraver's proof," which is not a published "state" — I have seen 
 so-called " second states " in every respect equal, possibly even 
 superior, to a first. The engraver may have stopped printing the 
 "first states" after only a very few impressions, in order to make 
 some slight improvement in the plate, perhaps, or to scratch some 
 inscription, or because a sluggish demand for the print suggested 
 the wisdom of his lowering the price, which he could hardly do if 
 he continued to sell "proofs." So, to the connoisseur, beauty of 
 impression is everything ; and, to this, fine printing must have 
 conduced, as well as the suitable choice of tint for the ink, and 
 its careful mixing to the right consistency ; for the essential beauty 
 of mezzotint consists in its brilliancy, delicacy and rich variety 
 of tone. 
 
 How is this achieved upon the copper-plate 1 Briefly this is 
 the process. A " ground " is first prepared by working across the 
 plate at every possible angle a minutely-toothed, steel rocking-tool, 
 fixed at the end of a long handle the other end of which is held 
 movable on a pivot. The number of ways in which the tool is 
 rocked from side to side across the plate varies, according to the 
 individual manner of the engraver or the needs of the picture, from 
 
thirty-six to a hundred or more. The result is that the copper is 
 covered with a burr, fine or coarse, according to the number of 
 teeth to the inch in the curved edge of the rocker, and this when 
 inked, would print a uniform black. Then the engraver proceeds 
 with his scraper, a flat blade of willow-leaf shape, finely sharpened 
 — or rather, a succession of some twenty or thirty scrapers, for their 
 very fine edges are quickly blunted- — to scrape away as much as is 
 necessary of the burr where the lights and middle tints are to come 
 in the picture, leaving it intact for the deepest shadows. Where all 
 the burr capable of holding ink is removed by the scraper, leaving 
 the copper quite smooth, white must result in the printing, while 
 the intermediate tones, produceable in the subtlest gradations, are 
 beyond computation. 
 
 Now, this is the way in which the famous old engravers 
 worked, as it is the way of our contemporary master of mezzotint, 
 Mr. Frank Short ; but it can hardly have been exactly what Prince 
 Rupert showed John Evelyn as " the new way of graving called 
 mezzo-tinto," when the dilletante diarist paid the prince those 
 memorable visits in February and March, 1661. The principle was, 
 of course, the same, but a close study of the earliest mezzotints 
 discovers something of a different method. The tools were, in fact, 
 experimental, and, as an even ground over the whole surface of the 
 plate does not appear to have been used until Blooteling invented 
 the " rocker," somewhere in the sixteen-seventies, we find that in 
 the tentative plates of Ludwig von Siegen, Prince Rupert and his 
 collaborator, Wallerant Vaillant, Theodore Caspar von Fiirstenberg, 
 Jan Thomas of Ypres, William Sherwin, and the other pioneers of 
 the art, the shadows were produced in various ways of dotting by 
 some kind of roulette, or " engin," as Alexander Browne called it 
 in his " Ars Pictoria," of 1675, describing "The Manner or Way 
 of Mezo-Tinto." The scraper seems to have been but sparely used 
 for producing gradations of tone, while the highest lights were 
 attained by the simple method of leaving the copper severely alone. 
 Hence the comparative harshness and crudeness of most of the very 
 earliest examples. Other engraving processes were freely brought 
 into the service of mezzotint, not merely to give accent to form, or 
 depth to tone, as the later men used etching and aquatint, but 
 actually to produce portions of the ground. For instance, in Von 
 Siegen's Princess of Orange, the head only was mezzotinted against a 
 solid background of line-engraving ; in prints of Fiirstenberg's and 
 Thomas's there are grounds etched or dry-pointed to a dead black ; 
 while in Sherwin's Catherine, Queen of Charles II., we find the 
 unmistakable spirit ground of aquatint used for the background and 
 oval border. This is particularly interesting, since it would seem 
 
 5 
 
to prove, with the additional testimony of a curious print of Oliver 
 Cromwell^ supposed to be by Jan Van de Velde, that aquatint was 
 used sporadically about a hundred years before its reputed invention 
 by Le Prince. The legitimate method of mezzotint, however, 
 quickly developed its technique, though for a time its historical 
 value was far beyond its artistic. 
 
 Yet, how great that historical value ! A collection of old 
 mezzotint portraits offers a veritable panorama of personality, 
 covering a period that was prolific of individuality, picturesque, 
 romantic, amusing, pathetic, always humanly interesting. And 
 these personages, whom the dignified pages of history, or the scrib- 
 bling gossips of the times, have made familiar to us in their characters 
 and doings, are invariably worth coming face to face with. The 
 prints, therefore, visualising for us the human atmosphere of a 
 century and a half of crowded interest, vivify the pages of the 
 diarists and letter-writers, making De Grammont appear more lively, 
 Pepys even more intimate, and Evelyn almost companionable. They 
 bring Lord Hervey and Lady Mary Wortley Montagu, as it were, 
 on speaking terms with us. As we scan these counterfeit present- 
 ments of his contemporaries, handling, maybe, the very copies they 
 themselves handled, Walpole's letters seem more than ever as if 
 they were written to ourselves ; while we can fancy that dear Mrs. 
 Delany, delightful Fanny Burney and Blue-stockinged Mrs. Montagu 
 are veritably chatting with us over the teacups. 
 
 The art of mezzotint has, from its very inception, been invested 
 with the charm of romantic history, and always it has been associated 
 with the portraiture of beautiful women and notable men. When 
 " Lely on animated canvas stole The sleepy eye that spoke the 
 melting soul," it was the engravers practising the seductive new 
 method who, for the most part, translated to the copper those 
 "animated" portraits of the frail and fascinating beauties of the Merry 
 Monarch's Court. The great line engraver, William Faithorne, 
 persistently ignored them, with the curious exception of unblushing 
 Lady Castlemaine, just as in the Georgian period it was the masters 
 of mezzotint chiefly who perpetuated the pictured beauties that 
 engaged never the graver of a Woollett, a Strange, or a Sharp. 
 Somehow the soft blandishments of mezzotint seem peculiarly well 
 suited to the picturing of pretty women, and, when we get on familiar 
 terms with these Carolian prints, we can almost feel De Grammont 
 and little Pepys at our elbows, nudging us, and whispering with 
 humorous relish their amusing stories of Whitehall and Tunbridge 
 Wells. Sir Peter Lely's artistic conscience, as easy as the manners 
 and morals of the Court, lent itself readily to the festival spirit and 
 masquerading character of the times, typifying these by the pictorial 
 
 6 
 
affectations of arcadian simplicity with which he flattered his female 
 sitters. Young and fair and merry he made them all look, but 
 never in the least innocent. 
 
 For the true pictorial expressiveness of the Lely beauties in 
 mezzotint we must look to the later engravers ; James McArdell, 
 with his sumptuous Comtesse de Grammont (Plate XII.) and Mrs. 
 Middleton^ox Thomas Watson, with his six splendid Windsor Beauties; 
 yet there is a special virtue of intimacy in the contemporary touch. 
 Pepys may tell us how Mistress Mary Davis, the captivating 
 dancing comedienne, sang and jigged her way into Charles II. 's ever 
 hospitable heart, and how her tender singing of " My Lodging is on 
 the Cold Ground " so moved the King that he gave her a richly- 
 furnished house in Suffolk Street, Pall Mall ; but when we look 
 at the winsome face in Gerard Valck's rare and delicate print (Plate 
 II.), can we not see, then, why Mrs. Pepys's friend Mrs. Pearce 
 called the alluring actress an " impertinent slut," and why my 
 Lady Castlemaine was " mighty melancholy and discontented " ? 
 
 A new royal amour meant always a harvest for the engravers, 
 the public calling for portrait-prints of all the favoured ladies. 
 Indeed, the court scandal and the social gossip in those easy-going 
 days increased their popularity through the soft solicitudes of 
 mezzotint, and the printsellers' windows were the Daily Mirrors 
 of the times. 
 
 IL 
 
 It was at Drury House, his ivy-grown gabled Elizabethan 
 mansion, in quiet Beech Lane in the Barbican, off Aldersgate Street, 
 that Prince Rupert received John Evelyn on March 13, 1661, 
 Out of humour with the new fashions and manners at Whitehall, 
 and, as Pepys says, " welcome to nobody " there, the serious-minded, 
 middle-aged prince, not displeased, perhaps, to escape from the 
 old soldiers for ever wanting him to fight his unfortunate battles 
 over again, would be glad to talk about the arts with so ardent a 
 connoisseur as the discreet and courteous Mr. Evelyn. And, as the 
 interest of their talk increased, he would draw from, say, a court 
 cupboard of carved oak choice impressions of those really fine prints 
 The Great 'Executioner and The Standard Bearer, with his earlier work, 
 the daintily simple Head of a Girl (Plate I.), and other prints he had 
 accomplished with the new and extraordinary method of mezzotint. 
 The copper-plates themselves would next be displayed, and then, 
 Mr. Evelyn's curiosity being at its height, the prince would bring 
 out the tools he had devised, the "Style," presumably for "scraping," 
 and the " Hatcher " for grinding, and to his visitor's delight, laying 
 
 7 
 
a copper-plate flat upon an oak table, or " monk's bench," perhaps, 
 he would proceed, " with his own hands," to show how mezzotint 
 was done. Evelyn was no doubt highly flattered by the prince's 
 condescension, and perhaps it added a little to that conceitedness 
 for which his friend Pepys makes such good-humoured allowance, 
 that he should be the first Englishman entrusted with the secret 
 of an artistic process made in Germany. He asked permission to 
 publish the " whole manner and address " of it in his forthcoming 
 History of Chalcography, and this was given with a " freedom 
 perfectly generous and obliging," as Evelyn put it, Rupert further 
 favouring him by engraving the head of The Executioner as a 
 frontispiece to the volume. But, when " Sculptura " appeared in 
 1662, the engravers who read it must have been merely bewildered, 
 for, while the author made a lot of mystery about the paradox of an 
 engraving done without any of the ordinary tools or acids, in which 
 the shadows were the easiest parts, and the lights the most difficult, 
 he omitted to tell his readers how the thing was done. He was 
 reserving details, as he said, for the archives of the newly-formed 
 Royal Society, but, if he ever communicated them to the Society, 
 its archives hold no trace of them. When Prince Rupert explained 
 the process to Evelyn, however, what did he say as to the inventor 
 of it .? This is a puzzling question, since the author of " Sculptura" 
 expressly credits the prince with the invention, whereas we know 
 that Rupert had had the new way of engraving communicated 
 to him personally by the actual inventor himself. Colonel Ludwig 
 von Siegen, a German officer of parts. Now, one does not like to 
 think of the hero of so many brave exploits and indiscretions taking 
 from a brother soldier the credit of his invention, and it is 
 comforting to find Mr. A. M. Hind, the latest historian of 
 engraving, drawing attention to a publication about 1734, which 
 gives the text of a manuscript of Evelyn's, presumably the draft 
 of the paper prepared for the Royal Society. For, in this 
 Evelyn writes that the invention " was the result of chance, and 
 improved by a German soldier, who espying some scrape on the barrill 
 of his musquet, and being of an ingenious spirit, refined upon it, till it 
 produced the effect you have seene." So Rupert, we may suppose, 
 told Evelyn at least something of the truth, although, when 
 " Sculptura " announced him as the inventor of mezzotint, he 
 allowed the flattering misstatement to pass uncorrected, thinking, 
 perhaps, that since he had done so much to develop the art, it would 
 do it no harm to be associated with his illustrious name. Thus 
 Walpole was led to repeat the error, which continued to be accepted 
 for over a hundred years before the credit was given at last to the 
 man who deserved it. 
 
 8 
 
Ludwig von Siegen was a native of Utrecht, and, having left 
 the service of the young Landgrave WiUiam VI. of Hesse Cassel, he 
 went in 1641 to Amsterdam, where at that time, of course, great 
 artistic influences were at work. From that city, in the following 
 year, he sent to his late chief a portrait-print of the Landgrave's 
 mother, the Landgravine Amelia Eli-zabeth, accompanied by a remark- 
 able letter, still preserved, in which he describes his method of 
 engraving as differing from all other known forms. This was the 
 first mezzotint, and it exists in three " states," impressions being 
 exceedingly rare. Of Von Siegen's other prints six only are known, 
 all experimental in technique, and one is tempted to wonder, if the 
 inventive soldier had met Rembrandt at that time, as he might 
 easily have done, and shown him those prints, what the develop- 
 ment would have been of a medium so well adapted to express the 
 art of the great Dutch master, as at a later period Richard Houston 
 and other engravers proved it to be. Some of his seven prints, 
 however, with probably other tentative plates, Von Siegen must 
 have shown to Prince Rupert when the two met in Brussels, in 
 1654, and the prince, who was already practically versed in etching 
 and line-engraving, induced the colonel to satisfy his curiosity as to 
 how he had produced such prints. As soon as Rupert had grasped 
 the principle ot the new method, he began to make experiments, 
 and by the year 1658, when he went to Frankfurt for the coronation 
 of the Emperor Leopold L, he was able to produce his big plate of 
 The Execution of St. yohn the Baptist^ after Spagnoletto, which, even 
 with the disturbing effect of the curious curves in the " ground," 
 which suggest the use of a pivot-worked handle for the grounding- 
 tool, is one of the most pictorially impressive mezzotints ever 
 done. 
 
 At Frankfurt Prince Rup)ert met, and enlisted the technical 
 assistance of, the Flemish painter, Wallerant Vaillant, whom he 
 instructed in the method with advantage, as he did Jan Thomas, of 
 Ypres, the court painter, who likewise produced several notable 
 plates more or less in the same manner, some with very black 
 grounds. Of that sympathetic company was also the Canon of 
 Mentz, Theodor Caspar von Fiirstenberg, who, like Rupert, had 
 learnt the secret direct from Von Siegen. But it was no longer a 
 secret. Vaillant became quite a prolific engraver in mezzotint, 
 improving his technique as better tools became available, and other 
 Flemish, Dutch, and German artists followed suit. But the medium 
 never really flourished on the Continent. Why, it is difficult to say, 
 but for all Prince Rupert's enthusiasm, the art of mezzotint might 
 have died of inanition had he not introduced it to England. Here 
 the times were socially ripe for it. Pleasure and pretty women 
 
ruled, and, since mezzotint was a novelty, and, as I have said, it 
 favoured feminine portraiture with greater ease and charm than 
 the more austere method of line-engraving, it soon found popular 
 welcome, becoming so thoroughly acclimatised, in fact, as to be 
 known abroad before long as " the English manner." 
 
 One would like very much to know what were those " good 
 things done" with mezzotint which Mr. Evelyn showed to his friend 
 Mr. Pepys on the 5th of November, 1665, when the good-humoured 
 little diarist paid that delightfully-described visit to Sayes Court, 
 and he learnt the " whole secret of mezzotint, and the manner of it 
 which is very pretty." If he had only told us about the prints 
 instead of Evelyn's epigram on the lady and the eagle in the grate ! 
 Whether they included any attempts by English engravers to solve 
 the mystery propounded by Evelyn's " Sculptura " it is impossible to 
 say, but it is certain that, if the busy professional engravers, like 
 Faithorne, Hollar, and Robert White, did not concern themselves 
 with the new method, which probably they regarded as beneath the 
 dignity of line-engravers, there were, at all events, amateurs who 
 were essaying to do what looked so easy. William Sherwin, for 
 instance, whose coarse but powerful print of Charles II., dated 
 1669, is the earliest English mezzotint on which a date can be 
 found, was certainly trying to discover the method for himself before 
 Prince Rupert, to whom he dedicated the plate, showed him the 
 way ; for he appears to have found means of his own to ground the 
 plates, reputedly pressing a kind of sharp file on the copper, and also 
 using the aquatint grain apparent in the print of Catherine. 
 Sherwin's appointment as Engraver to the King, which doubtless he 
 owed, as he owed his introduction to Prince Rupert, to his marriage 
 with General Monk's grandniece, does not appear to have been very 
 onerous, for his plates were few. Rupert himself seemingly took no 
 further personal part in the development of mezzotint, for he did not 
 long remain proof against the soft enticements of the pleasure-loving 
 Court. To everybody's amusement, especially King Charles's, he fell 
 so violently and irrevocably in love with Mistress Margaret Hughes, 
 the beautiful actress of Drury Lane, that, as De Grammont tells us, 
 " he no longer appeared like the same person." However, he had set 
 the ball of mezzotint rolling. Contemporary with Sherwin, Francis 
 Place, another well-to-do amateur, who, having given up the study of 
 law, and occupied himself with the various arts of painting, engraving, 
 and porcelain-making, was early allured by mezzotint. With his 
 native ingenuity he seems to have mastered its principle in a way of 
 his own. His rare prints of Philip Woolrich ; General Lambert ; 
 Charles I. ; Nathaniel Crew, Bishop of Durham ; Richard Tompson, the 
 print-seller; and Richard Sterne, Archbishop of York, very smooth in 
 10 
 
texture, have a delicacy that gives them a place apart among the 
 earlier examples of the method. 
 
 Decidedly the most interesting and important engraver working 
 in mezzotint at this period was Abraham Blooteling. Already dis- 
 tinguished by his engravings in the line-manner, he was induced by 
 his friend David Loggan, of " Oxonia lUustrata " fame, to come, 
 about 1670, from his native Amsterdam to London. He soon saw 
 that mezzotint was likely to have a future in this country, especially 
 with Sir Peter Lely here to encourage it for the interpretation ot 
 his courtly and liattering portraiture, and, having learnt something 
 ot the process already from Fiirstenberg, he devoted himself to the 
 development of its technique. In so doing he rendered a most 
 important artistic service, for he invented the " rocker " to produce 
 an even ground of tine or coarse grain, and this tool has been in use 
 with all subsequent mezzotinters. About six years Blooteling worked 
 here, and he produced a few magnificent plates, chiefly after Lely, 
 and in these, such as the superb Duke of Monmouth ; Charles II. ; 
 Catherine of Braganza ; William, Prince of Orange (Plate III.); Earl of 
 Sandwich; Earl of Derby, he showed a true interpretation of the 
 painter's quality, besides a command ot mezzotint far beyond that 
 reached in any other prints of the period. His influence, however, 
 is apparent in the plates of his clever brother-in-law and pupil, 
 Gerard Valck, and two other Dutchmen, Paul Van Somer and John 
 Van der Vaart, who engraved a number of portraits of contemporary 
 notabilities, though many of these were published anonymously by 
 the printsellers, Richard Tompson and Alexander Browne. One 
 could hardly " grangerise " De Grammont without a collection of 
 these rare prints of the Dutch engravers, or of the French painter, 
 Henri Gascar, wrho came to England at the instance of his notorious 
 countrywoman, Louise de Querouaille, Duchess of Portsmouth, and 
 painted her and others of Charles's favourites, and presumably did 
 his own engravings. 
 
 The Dutch engravers appear to have been a close company, but 
 one of Blooteling's assistants, De Blois, before returning to his 
 native land, was willing to sell, for forty shillings, his master's 
 secret method of grounding the plates, and John Lloyd, the print- 
 seller, was only too ready to purchase. He was to have communi- 
 cated the secret to Edward Luttrell, an Irish law-student, who 
 having "commenced artist" with crayon-portraiture, three examples 
 of which are in the National Portrait Gallery, London, was essaying 
 mezzotint with an unsatisfactory grounding-tool of his own 
 devising. Luttrell, however, had meanwhile learned the right 
 process from Paul Van Somer, and so he was the first of the 
 engravers of Irish birth to play a noteworthy part in the history of 
 
 II 
 
mezzotint. He engraved some very creditable plates, notably the 
 exceedingly scarce Charles II., a rough but spirited piece of work. 
 Lloyd, nevertheless, got much more than his money's worth out of 
 his purchase, for he imparted his technical information to a friend 
 of Luttrell's, young Isaac Beckett, a calico-printer's apprentice, 
 whose happy-go-lucky habits of gallantry had got him early into 
 trouble and Lloyd's helping hands. Luttrell's mezzotints fired his 
 ambition, and he was fascinated by the prints he saw of the pretty 
 women of the court. He felt he could do the same if only he knew 
 how. Lloyd told him how, and the telling meant profit for both 
 of them. A clever, engaging creature, Beckett soon became the 
 most popular and successful mezzotint-engraver of the day ; all the 
 painters were eager for his interpretation, and his printselling 
 business at the sign of the Golden Head flourished exceedingly. His 
 prints, as far as we know, were done between 1681 and 1688, but he 
 married a fortune, and lived pleasant and prosperous days until 171 9. 
 Godfrey Kneller, who had come to London only the year before 
 Beckett began to publish his prints, regarded him at that period as 
 his engraver-in-chief, and certainly the hard tones of his pictures 
 gained much in translation from Beckett's brilliant and harmonious 
 handling. To look through Beckett's hundred or more prints is to 
 meet many interesting personalities, but perhaps his most artistic plates 
 are Lely's and Kneller's portraits of themselves ; Wissing's ornate Lady 
 Willtams (Plate IV.), one of James II. 's passing fancies ; Hawker's 
 Duke of Grafton; and Riley's Duke of Norfolk; Beau Fielding, that 
 dandified rake and Lady Castlemaine's nemesis, painted severally by 
 Kneller and by Wissing ; Kneller's Lady Soames and Catherine Sedley, 
 she whose Countesship of Dorchester so stuck in poor Queen Mary 
 of Modena's throat that, as Evelyn tells us, she could not swallow 
 her dinner or speak to the King for two days. Many historic 
 happenings are called to mind also by the prints of Robert (or 
 Roger) Williams, a Welsh contemporary of Beckett, who took to 
 mezzotint after studying painting with Lely's friend Theodore 
 Freres, and scraped with a nice pictorial sense of tone. Perhaps the 
 most attractive of his prints is Schalcken's pretty Vanitas Vanitatum, 
 but his success in the handling of character is shown in Lely's Duke and 
 Duchess of Lauderdale ; Luttrell's William, Duke of Bedford ; Wissing's 
 Duke of Ormonde, Lord Cutis, the "fire-eating" general, Queen Mary II. 
 and Queen Anne, before they were queens ; while he brings us in 
 touch with the Restoration theatre in Thomas Betterton, and with 
 music in John Banister, Charles II. 's bandmaster, who, in 1672, 
 gave the first public concert in London. 
 
 William Faithorne, Junior, the great line-engraver's son, 
 showed promise in a few portrait-prints, but he wasted his career, 
 
 12 
 
while Bernard Lens, father of the miniature painter, was the first to 
 see the capacity of mezzotint for rendering scenic effects at night, as 
 in his Fireworks in Covcnt Garden, and Fireworks in St. fames' s Square, 
 both celebrating King William's victories. These are more 
 artistically interesting even than Lens's attractive print, after 
 Wissing and Van der Vaart, ol Lady Mary Radclyjfe, the daughter of 
 Charles IL and Mary Davis, and mother of the ill-fated Jacobites, the 
 Earl ot Derwentwater and Charles Radclyffe. But the engraver who 
 showed the greatest mastery of mezzotint in the seventeenth century 
 was fohn Smith. An obscure engraver's son, young Smith had studied 
 drawing and painting thoroughly before he began engraving, first 
 under Van der Vaart, and later with Beckett. It was, therefore, 
 with a complete artistic equipment that the handsome and talented 
 young engraver went to live and work with Sir Godfrey Kneller at 
 his house in Bow Street, Covent Garden. That extraordinarily 
 fashionable, amusingly vain, and prodigiously industrious painter 
 was then ruling supreme in English portraiture, and the association 
 of painter and engraver proved exceedingly profitable for both. 
 With an industry that kept pace with Sir Godfrey's, and a capacity 
 for interpretation more than equal to the demands made upon it by 
 his conventional and uninspired art. Smith engraved no fewer than a 
 hundred and thirty-eight of Kneller's portraits. Of these prints, 
 the most brilliant and masterly are those of Kneller ; Isaac Beckett ; and 
 'John Smith himself, with his fine face and keen eyes, full of character, 
 sensibility, and charm; the Duchess of Grafton; Mary, Duchess of 
 Ormond, with her black boy ; Marquis of Aiinandale, and fatnes. Sari 
 of Seafeld, both with line-engraved borders ; Sir John Percival, who 
 sent a selection of Smith's mezzotints to the Grand Duke of Tuscany, 
 and supported Le Blon's colour-printing venture ; Anthony Henley ; 
 John, Duke of Marlborough ; and Mistress Arabella Hunt (Plate VL), 
 the beautiful and gifted singer, of whom Congreve wrote that he 
 "could hear her voice and try If it be possible to die," and to whom 
 Queen Mary would listen by the hour with delight, even though she 
 offended the great Mr. Purcell, when, at the harpsichord, he wanted 
 to be accompanying Mistress Hunt in the songs he had specially 
 composed for her, while the queen asked her in preference to sing 
 the simple Scotch ballad "Cold and Raw" to her own lute. 
 
 But there came an end to the Smith and Kneller association. 
 As Sir Godfrey said to Pope, when the poet was sitting to him, he 
 could never paint so well if he were not being flattered, as he loved to 
 be, and John Smith's does not look like a flattering face. Besides, many 
 other busy portrait-painters were eager for Smith's engraving. There 
 was his old master Van der Vaart, with his remarkable Queen Mary, 
 and, in collaboration with Wissing, his Princess (afterwards Queen) 
 
 13 
 
Anne and William III. ; there was Wissing with Hon. William Cecil 
 and his own portrait, there was Gottfried Schalcken (Plate V.), whose 
 self-presentment, with its candle-light effect, and unconventional 
 pose. Smith mezzotinted with such engaging effect. There were 
 Michael Dahl, Kerseboom, Thomas Murray, John Riley, Vander- 
 bank, Jonathan Richardson, Sir John Medina, with his William 
 Anstruther, Gibson, and many others, including the Irish painter, 
 Hugh Howard, whose portrait of Arcangelo Corelli, the father of 
 modern violin music, is perhaps the richest and most artistic 
 achievement of Smith's scraper. After Lely's handsome William 
 Wycherley Smith engraved also a fine print, besides many pictorial 
 subjects, such as The Loves of the Gods, after Titian. His popularity 
 extended from England to the continent. Connoisseurs made col- 
 lections of his prints, while it is said of Lord Somers, the famous 
 Chancellor, that he never went a journey without taking a parcel of 
 Smith's prints in his coach to look through, as nowadays in the train 
 we turn to the pages of the illustrated papers. Thus John Smith lived 
 prosperously and in good repute for ninety years, dying in 1742. 
 His prints, covering the reigns of Charles H. and James, William 
 and Mary, Anne and the first George, teem with historic interest, 
 and take us, of course, into a full-blooded, periwigged, entertaining 
 company. Several of them are very rare, for Smith quite properly 
 destroyed some of his plates when they showed signs of wear, but 
 others he sold on his retirement, and later impressions of these only 
 do injustice to his reputation. 
 
 Smith's successor-in-chief with Kneller was John Simon, a 
 Protestant refugee from his native Normandy, who, finding after 
 a few years in London that there was little call for line engraving, 
 of which he was a practised exponent, and much for mezzotint, 
 turned his attention to that medium in 1707. He brought a fresh 
 artistic sensitiveness to it, and, though less brilliant on the whole 
 than Smith, his refinement of touch and harmonious treatment of 
 tones gave him distinction and popularity during his thirty-five 
 working years as an engraver in mezzotint. His dainty prints after 
 the fancy subjects of Watteau, Rosalba and Amiconi made their 
 popular appeal, but his celebrity lives in his portrait-prints, 
 representing, as they did, all the principal portrait-painters, such as 
 they were, and supplying a personal epitome of the Augustan age of 
 Queen Anne and those early Georgian years that knew so little 
 of pictorial beauty. His artistic accomplishment is seen most 
 attractively, perhaps, in his print of Grisoni's vivacious Colley Cibber 
 (Plate VII.), as Lord Foppington in "The Careless Husband," an 
 impersonation that served as a model for the costume, as well as the 
 fashionable bearing and ton, of the superior coxcomb of the period. 
 
A print ot powerful quality, rare in "first state," is that from 
 Woollaston's characteristic and spontaneous portrait of Thomas 
 Britton, the small-coal man, who, atter his daily rounds, calling coal 
 through the streets, would of evenings gather at his Clerkenwell 
 lodging all the noted musicians and amateurs, among them even the 
 great Handel, tor the enjoyment of instrumental music. Others 
 among Simon's best prints are Richardson's Matthew Prior and 
 Nance OlJjieLi ; Dahl's Sari of Peterborough^ the famous general and 
 remarkable person ; Kneller's Lord Somers and hord North and Grey ; 
 and D'Agar's Duchess of Montagu, Marlborough's daughter. But 
 the subjects of Simon's prints are very tempting to the 
 anecdotist, tor they take us into the midst of all the political, 
 military, intriguing, social and theatrical happenings of the time. 
 
 This might be said, however, of the prints of other contem- 
 porary engravers. There was the greatly esteemed George White, 
 tor instance, one ot the most artistic among them. Son of Robert 
 White, the celebrated line-engraver, he followed his father's 
 profession as well as that of portrait-painting, till, in the year that 
 Queen Anne died, he took up mezzotint. But, not content with the 
 medium as he tound it, he enriched its effects with the aid of the 
 etching-needle and the graver, used to accentuate the design betore 
 the plate was grounded, a practice followed by later engravers, 
 notably Earlom and J. M. W. Turner in his Liber Studiorum. White's 
 use ot line is conspicuously exemplified in his verv last plate. The 
 Laughing Boy ot Franz Hals, and Abel Roper, the notorious bookseller, 
 after Hysing, a proof of the preliminary etching for this plate being 
 in the British Museum. The finest and richest examples of his 
 mezzotinting, however, in which, with his painter's experience, he 
 showed real art, are the decorative William Dobson (Plate VIII.), after 
 that accomplished painter himself; Charles Reisen, tht gcm-engrzvtx:, 
 after Vanderbank ; Allan Ramsay, after Aikman ; Dryden, Pope, and 
 Monnoyer, the flower-painter, in Kneller's portraiture ; and fack 
 Sheppard, in his prison cell, after Sir James Thorn hill, who usually 
 painted goddesses and the Virtues on the ceiling. 
 
 An immense vista of engraved portraiture opens before us at 
 the name of John Faber. Commencing to publish his plates in 
 171 2, at the age of seventeen, and working industriously till his 
 death in 1756, he linked the days of Kneller with those of Reynolds, 
 three of whose portraits he engraved, and he saw the new era of 
 mezzotint begin with the rising star of McArdell. Born in Holland, 
 and brought as a child to London, he learnt drawing from Vander- 
 bank, and mezzotint from his father — a rough-and-ready engraver, 
 memorable only for a set of classic heads after Rubens, and the 
 Founders of the Oxford and Cambridge Colleges. Later, it is believed, 
 
 15 
 
he came under the tutorship of John Smith, many of his plates 
 showing the intimate influence of that master. The paintings he 
 had to translate to the copper, however, were rarely of an inspiring 
 character. The fashionable English portrait-painters of the first 
 half of the eighteenth century were, for the most part, what 
 Whistler might have described, even more appropriately than he 
 did certain Royal Academicians in the familiar anecdote, as a 
 " damned crew." Their merit was " the inveterate likeness," 
 to quote that lively but perspicacious young critic, Charles 
 Surface, when he was selling his ancestors, " all stiff and awkward 
 as the originals, and like nothing in human nature besides." Of 
 course they were not all as bad as that ; but Faber engraved five 
 hundred plates after eighty-six different painters, and, though among 
 these occur the eminent names of Reynolds, Hogarth, and Chardin, 
 they were mostly the fashionable makers of portraits, such as 
 Kneller, Hudson, Ramsay, Highmore, Jervas, Hayman, Vanderbank, 
 Vanloo, Dahl, and Hoare. Kneller's Kit-Cat Club portraits, and 
 Hampton Court Beauties are those most popularly associated with Faber's 
 name ; but his full-length prints of Haytley's Margaret WojfiJigton 
 as Mrs. Ford, in " The Merry Wives of Windsor," wearing the 
 monstrous hoop-petticoat ot her day, and Lady Christiana Moray oj 
 Abercairny (Plate IX.), after J. Davison, the Scottish painter, an 
 extremely rare thing, show what he might have done with really 
 great painters to inspire his capable scraper. As it was, the 
 historical student's debt to Faber is incalculable, even though the 
 art-collector's may be less so. Yet the collector may gladly possess 
 The Guitar Player, after Franz Hals ; Master Chardin, after his 
 father ; the Larl of Loudoun, after Ramsay ; Hudson's Handel, and 
 Mrs. Cibber ; Kneller's portrait of himself, with an angel blowing 
 the trumpet of his fame ; Vanloo's Alexander Pope ; Winstanley's 
 portrait of his wife; Robinson's Lady Charlotte Finch; Kitty Clive, 
 as Phillida, after Peter Van Bleeck ; Vanderbank's George 
 Lambert, the scene-painter ; Rysbrack, the sculptor ; and Anastasia 
 Robinson, the celebrated opera-singer, who married the famous 
 Earl of Peterborough, after much gossip to the contrary. 
 
 While the distinguished engravers I have just named were 
 dominating the printsellers' windows, there were several others of 
 less importance producing prints of varying interest. Thomas 
 Johnson, for instance, and Francis Kyte, alias " F. Milvius," who 
 did a capital print of Aikman's John Gay, and Peter Pelham. After 
 working without sufficient encouragement in London, Pelham 
 emigrated to New England, and, settling in Boston as a portrait- 
 painter, engraver, and schoolmaster, published there in 1727 a 
 portrait of the Rev. Cotton Mather, the author of two curious books 
 
 16 
 
on witchcraft. This was the first mezzotint done in America, 
 which, of course, Pelham followed with others of American his- 
 torical interest. Then, there were the two Dutchmen, Alexander 
 Van Haecken and Peter Van Bleeck. The most noteworthy prints 
 ot Van Haecken represent a curious phase of musical fashion in 
 the portraits of the three famous male soprani, Farhiel/i, the singing 
 idol ot the " polite world," ScnL's/no, and Gizzic/Io ; while Van 
 Bleeck painted and engraved some interesting portraits ot contem- 
 porary players, such as Mrs. Cihbcr as Cordelia, wearing, no doubt, 
 one of those fine new gowns of the latest mode for which she would 
 always be plaguing Garrick. The Nell Givynn, after Lely (Plate X.), 
 is, however, a more accomplished engraving. 
 
 There were also the two Irishmen, Thomas Beard and John 
 Brooks, and the London Scotsman, Andrew Miller, a pupil of 
 Faber, and these played a more important part in the history ot 
 mezzotint than their own prints would suggest. The art was in a 
 state ot decadence. The painters of the day were giving it none ot 
 the stimulus of pictorial beauty that it needed, and the public taste 
 in London, titillated now by the mordant humour and satire ot 
 Hogarth's prints, treated even the portrait in mezzotint with little 
 consideration. But the reviving intluence came from Ireland. 
 Dublin was quite a flourishing artistic centre in those days, and 
 Thomas Beard did well to tlick the dust of London from his feet 
 in 1728, and go back to Erin. Dublin welcomed and encouraged 
 him to such an extent that John Brooks was easily induced, by 
 reports of Beard's success, to follow him home twelve years later, 
 taking with him his boon companion, Andrew Miller. In Dublin 
 he set up at the sign of Sir Isaac Newton's Head on Cork Hill, and 
 there he engraved, and sold his own and Miller's prints, and, what is 
 of far greater importance, there, with his clever young pupils, James 
 McArdell, Richard Houston, Charles Spooner, Michael Ford, and 
 Richard Purcell, he founded the famous school ot Irish mezzotint 
 
 engravers. 
 
 Brooks was a clever, erratic, attractive creature, and finding 
 atter six years that neither Dublin nor engraving offered sutficient 
 field for his activities, he returned to London, taking with him his 
 young pupils, James McArdell and Richard Houston, and a new 
 process he had discovered for enamelling on porcelain. The new 
 process, starting in Battersea, ended in bankruptcy — for somebody 
 else, of course ; the pupils revived the art of mezzotint, while Brooks 
 enjoyed the rest of his life by drinking himself to death. 
 
 17 
 
III. 
 
 McArdell and Houston were really splendid engravers, and no 
 more genuinely intuitive artists ever grounded a copper-plate, and 
 scraped it to the forms and tones of another man's picture. It was 
 fortunate, therefore, for the painters who were then coming into 
 vogue, as well as those who had arrived, that these two engravers 
 came just when the art of mezzotint had so much need of them. 
 When each was at his best, there was little to choose between them, 
 though I fancy the true painter's instinct was greater and more 
 subtle in Houston, giving him that magic quality in his rendering 
 of atmosphere which made him pre-eminent among the many 
 mezzotint interpreters of Rembrandt, although McArdell too was 
 worthily of the company. But McArdell was always a self- 
 respecting man and artist, with dignity of character, and gentleness 
 of nature, as the fine face shows in Earlom's print from McArdell's 
 self-portraiture. Consequently, his work never fell below his own 
 standard of effort, while often it reached supreme excellence. 
 Engraving the paintings of Hogarth, Hudson, Allan Ramsay, 
 Francis Cotes (the lovely Gunning sisters), Dandridge, Liotard and 
 Pond (the rare Peg JVojington), McArdell was, by the year 1751, at 
 about 22 years of age, in a position to commence publishing his 
 own mezzotints at the Golden Head in Covent Garden — the Golden 
 Head, by the way, being a favourite sign for the shops of the old 
 engravers — and when, by his brilliant plates of the youthful Duke 
 of Buckingham and his brother, followed by the still nobler Lords 
 John and Bernard Stuart (Plate XL), he showed what he could make 
 of Vandyck's more gracious art, he was definitely recognised as the 
 most masterly mezzotint-engraver of the day. Then, when Joshua 
 Reynolds came to town, and, following his own pictorial path, 
 began to take an eminent position among the portrait-painters, 
 naturally he and McArdell would attract each other. Their 
 memorable association began in 1754, and the first of Reynolds's 
 portraits that McArdell engraved was the Lady Anne Dawson 
 as Diana, so curiously like in design to the print he had made five 
 years previously of Allan Ramsay's portrait of Lady Boyd', afterwards 
 Countess of Erroll, also as Diana, with the hound and the spear, 
 and even the diamond crescent and pearls in the hair. McArdell 
 was as welcome in Reynolds's studio, among its notable habitues, 
 as he was at Old Slaughter's Coffee House in St. Martin's Lane, 
 or the " Feathers " in Leicester Fields, among the jolly, convivial 
 artists who gathered there. He engraved thirty-eight of the por- 
 traits Reynolds painted in his early and middle periods, and among 
 these were such choice prints as the superb John Leslie, Earl of 
 
 18 
 
Rothes; Catherine Chambers; Anne Day (Lady Fenhoulet) ; Lady 
 Charlotte Fitzwilliam ; Lady Elizabeth Montagu ; Lady Caroline 
 Russell. When Reynolds heard of McArdell's sudden death in 1765 
 he might well have said, with Macbeth, " He should have died 
 hereafter " : for when one looks at the Reynolds prints, the men's 
 portraits as well as the women's, one can imagine how gloriously 
 McArdell would have interpreted the masterpieces of Sir Joshua's 
 maturity. But his pictorial range was extensive, his artistic sym- 
 pathies were broad. There are the splendid Elizabeth, Comtesse de 
 Grammont (Plate XII.) ; and Mrs. Middleton, after Lely ; The Flageolet 
 Flayer, after Hals's pupil, Jan Molenaer ; The Mathematician, and A 
 Dutch Literior, after Rembrandt ; and the quaint Pride (Plate XIV.), 
 after C. A. Coypel ; Ramsay's Lady Mary Coke (Plate XV.), too, and 
 Hudson's Mary, Duchess of Ancaster (Plate XIII.). Surely the texture 
 of satin has never been more wonderfully and dehcately suggested 
 in mezzotint than by McArdell, particularly in the two prints last 
 named, and what a sense of character they convey ! Poor vain, 
 discontented Mary Campbell, Lady Coke, whose memoirs, 
 charged with perpetual grievances against everybody, fill four large 
 tomes ; as she poses there against the harpsichord, holding a borrowed 
 theorbo-lute, though she had no ear for music, can we disbelieve 
 anything her friends Lady Mary Wortley Montagu or Horace 
 Walpole tell us about her ? And the Duchess of Ancaster, whose 
 beauty is said to have made poor, plain, diffident Queen Charlotte 
 burst into tears when she was presented to the bride-queen as her 
 Mistress of the Robes, there she is, with all the spirit of the 
 Ranelagh masquerade in her person as in her dress. 
 
 Richard Houston began as encouragingly as McArdell did. 
 He was his own publisher, and master of his art ; but his intemperate 
 habits reduced him to being a hack of the printsellers, and sometimes 
 a prisoner in the Fleet. Yet, even at his worst, his touch was always 
 artistic, while, at his best, no mezzotint engraver was ever more 
 finely responsive to all the pictorial suggestions of light and shadow. 
 He seemed instinctively to understand the very mind of Rembrandt, 
 and from the richly-grounded copper his scraper, with magic 
 delicacy of strength, would conjure that imaginative infinity with 
 which the master would treat the homeliest subjects. Thus, 
 Houston will always retain an individual place among the great 
 mezzotinters, and be held in esteem by connoisseurs, by reason of 
 those magnificent Rembrandt prints, The Burgomaster ; Woman plucking 
 a fowl (Plate XVII.) ; Man mending a pen; Man with a knife ; Hamans 
 condemnation ; and The Syndics of the Cloth Merchants. VV^ith what 
 delightful tenderness Houston could render the charm of pretty 
 women one sees in Reynolds's lovely Caroline, Duchess of Marlborough 
 
 c 2 19 
 
(Plate XVIII.) playing with her infant daughter ; Maria, Countess qf 
 Waldegrave (afterwards Duchess of Gloucester) cuddling her child ; 
 Mary, Duchess of Ancaster ; and the engaging Harriett Powell 
 (Plate XIX.) singing to the bird, as Leonora in Dibdin's vaudeville, 
 " The Padlock," before she was the Countess of Seaforth ; in Cotes's 
 Kitty Gunning (Plate XVI.), too, as well as her more famous sisters. 
 To Houston also we owe a few admirable translations of that capital 
 painter Zoffany ; Schaak's General Wolfe ; and some series of dainty 
 and charming prints after Mercier, such as Tlie Times of Day, and 
 Domestic Amusement ; and, after Hay man. The Senses. 
 
 The success of McArdell and Houston brought other clever 
 Irish engravers to London — Charles Spooner and Richard Purcell, 
 two more of Brooks's Dublin pupils, and Michael Jackson ; but, 
 though they may have added to the gaiety of convivial gatherings, 
 their coming was of no great artistic importance. Purcell had 
 talent, and some creditable prints bear his name, a few of his own, 
 but mostly copies from McArdell, Houston, and James Watson, 
 while several poor prints are signed " Corbutt," the alias Purcell 
 took when Sayer, the printseller, put him into the Fleet Prison, 
 and kept him there while working off his arrears of debt, till his 
 death in penury. 
 
 Very different from these three in character and talent were 
 the engravers Ireland next sent to us. " Houston, McArdell, and 
 Fisher have already promised by their works to revive the beauty 
 of mezzotint," wrote Horace Walpole in 1761. Edward Fisher had 
 been a hatter's apprentice in Dublin, then McArdell's pupil in 
 London, and it was not long before he took his place among the 
 best mezzotinters of the time. That time was, happily, when 
 Reynolds was developing a freer and bolder style, and Fisher's 
 breadth in the handling of tone-surfaces came opportunely to its 
 sympathetic interpretation. It is said that Reynolds himself ex- 
 pressed dissatisfaction with the excessive care that Fisher devoted 
 to subordinate details, but this is difficult to believe in view of the 
 artistic balance of tone and rich pictorial effisct of such impressive 
 prints as those of Queen Charlotte's bridesmaids, Lady Elizabeth 
 Keppel, Lady Elizabeth Lee, and Lady Sarah Lennox, of royally 
 romantic memory. Then, what fine quality in the equestrian Lord 
 Ligo?ner (Plate XX.), suggesting possibly that brilliant cavalry charge 
 with which he saved the British army at the Battle of Laffeldt ; and 
 the Laurence Sterne, a splendid print of a wonderful portrait ; David 
 Garrick between Comedy and Tragedy ; Admiral Keppel ; the tender 
 Hope nursing Love; the beautiful Catherine Trapaud ; and the alluring 
 Kitty Fisher posing for Cleopatra with the fatal pearl, though scarcely 
 an ideal model for the " Serpent of old Nile." Equally successful was 
 20 
 
Fisher's artistic touch in rendering Benjamin Wilson's Roger Long, 
 and Cotes's portraits of Pai// Saudby sketching out of window, and 
 his wife, The Nut-hroivn Maid (Plate XXL), as this charming print 
 is called ; while Nanee Oldfie/d, after Jonathan Richardson, certainly 
 conveys a suggestion of that dignity of character which made the 
 brilliant and beautiful actress, in spite of her irregular marriages, 
 welcomed in the royal palace and the great houses, and, even at her 
 death, in Westminster Abbey. 
 
 James Watson, another youth from Dublin, also learnt from 
 McArdell the true pictorial way of mezzotint, which, with facile 
 craftsmanship, enabled him to become, very early in his career, one 
 of Reynolds's most faithful and frequent interpreters. His touch 
 was delicate rather than vigorous, his sense of tone keen for rich as 
 for simple harmonies, and, brilliantly successful as he was in so many 
 of the fifty-six plates he scraped after Sir Joshua, no mezzotint ever 
 suggested more sensitively and harmoniously the intrinsic beauty of 
 paint than the lovely Miss Greenway, a print that you will find in the 
 choicest collections. Watson's engraving soon attracted attention at 
 the exhibitions of the Society of Artists, and by the time McArdell 
 died and Valentine Green came to town, Watson was already 
 established as a flourishing engraver. An assiduous worker, he was 
 so scrupulous as to the quality of his work, that, if it did not satisfy 
 him, he would destroy the plate and begin a fresh one. Consistency 
 of quality, therefore, stamped the numerous plates of James Watson 
 as prosperity brightened his home, till he died in the very prime of 
 his powers ; but in nothing was he happier than in his gifted 
 daughter Caroline, who holds among the stipple-engravers as dis- 
 tinguished a place as her father does among the mezzotinters. His 
 sister-in-law, too, Elizabeth Judkins, was drawn to the copper-plate, 
 learning from him the technique of his art, and practising it with 
 talent, as may be seen in the half-length of Reynolds's Mrs. Abington, 
 the original Lady Teazle, and the model and dress-adviser for all the 
 queens of fashion, though once but " Nosegay Fan," the flower girl. 
 Of Watson's prints after Sir Joshua, perhaps, the most generally 
 desired are, among the men's portraits, Reynolds himself; Dr. Johnson ; 
 and Edmund Burke; "James Paine and his Son, the architects; the Marquis 
 oj- Granby ; Sir Jeffrey Amherst, of American War fame ; and Harry 
 Woodward, the actor. Among the women are Lady Stanhope ; Eliza- 
 beth, Duchess of Manchester, with her infant son, fantastically repre- 
 senting Diana disarming Cupid ; Nelly O' Brien ; Lady Scarsdale, with 
 her son; The Duchess of Buccleuch 2.1x6. c\\\\d; The Duchess oJ Cumberland ; 
 Lady Almeria Carpenter ; Mrs. Abington (full length) ; Mrs. Bunbury 
 (Goldsmith's " Little Comedy") ; Mrs. Hale (Plate XXIL), posing 
 as Euphrosyne, before she had presented her husband, General Hale, 
 
 21 
 
with those twenty-one children ; Georgiana, Countess Spencer and 
 Daughter ; Miss Price; Mrs. Lascel/es and child ; Miss Greenway (Hon. 
 Mrs. Francis Napier) ; and that interesting Holland House group of 
 the two cousins, hady Sarah Lennox and Lady Susan Strangivays, with 
 young C/iarles James Fox. Francis Cotes's excellent portrait-painting 
 is admirably interpreted in the Lady Boynton, and the charming print 
 of Lady Susan O'Brien, Strangways no more, after her sensational 
 runaway marriage with the handsome and fascinating actor, William 
 O'Brien, which set all the society gossips agog. Although Gains- 
 borough was never an easy painter to engrave, James Watson made 
 line prints of Richard, Viscount Howe, and the elegant Hon. Augustus 
 John Hervey, husband of the notorious Elizabeth Chudleigh, the 
 Maid-of-Honour, who was tried for bigamy as the Duchess of 
 Kingston. 
 
 Dublin sent us yet another able engraver in John Dixon. A 
 very handsome young man of winning personality, he had turned 
 from the craft of engraving on silver to art-studies in the schools of 
 the Royal Dublin Society. Having squandered a fortune amid the 
 gaieties and allurements of the Irish capital, he came to London to 
 commence life seriously with the practice of mezzotint. He had 
 talent, and he had the fortunate gift of making his talent go a long 
 way ; he was successful almost from the beginning. His vigorous 
 print of Nathaniel Dance's portrait of David Garrick as Richard HI. 
 was immediately popular, and revealed to the painters and print- 
 sellers a new engraver with an individual touch. And this touch, 
 too, through Zoffany's characteristic portraiture, was to give us 
 another vivid record of Garrick's acting as Abel Drugger in " The 
 Alchymist." It was Reynolds, however, who inspired him to his 
 best, to wit. The Countess of Pembroke and her son. This was the 
 beautiful Lady Pembroke who, at George III.'s Coronation, as 
 Walpole said, " alone of all the Countesses looked the picture of 
 majestic modesty," and, pondering Dixon's print, one can well credit 
 this, as one can believe also the magnanimity and sense of irony 
 with which she consented to run away with her own husband after 
 he had eloped with a Miss Kitty Hunter, and quickly tired of her, 
 when, discovering that he possessed a wife "above rubies," if not pearls 
 in her hair, he wooed her all over again. Emma and Elizabeth 
 Crewe; Mary, Duchess of Ancaster ; Lady Blake ^s, ]\\no vtctWmg the 
 Cestus from Venus ; William, Duke of Leicester, all after Reynolds ; 
 A Tigress, after Stubbs ; The Flute Player, after Franz Hals ; and 
 Rembrandt's Frame-Maker, might induce us to regret Dixon's 
 marriage with the wealthy widow, and his subsequent life of 
 luxurious ease, which robbed us doubtless of many fine prints. 
 But, after all, one feels that Dixon was a very human person ; he 
 
 22 
 
had worked hard and successfully for ten years, and there were many 
 other engravers who had not married wealthy widows. Among 
 these, by the way, was his pupil and compatriot, Thomas Burke, 
 who, though his fame will always rest upon his exquisite master- 
 pieces in stipple, did some charmingly delicate mezzotints after 
 Angelica Kauffman, as, tor example, Tclemachus at the Court of 
 Sparta. 
 
 The last of the Irish group was Thomas Frye, who seems to 
 have begun mezzotint only late in his many-sided career ; but he 
 was one ot the most interesting and versatile personalities among the 
 engravers of the period. Born in Dublin in 1710, he died in 
 London in 1762, but the interval he crowded with many artistic 
 activities, ^^"ith his successful portrait-painting in oils, in crayons, 
 and in miniature, and his important, though unprofitable, efforts in 
 porcelain-making, we are not now concerned, but the interest 
 attaching to Frvc in the history oi mezzotint is ot a negative 
 character, since he proved by a large number of life-size head.s, 
 engraved from excellent original studies of his own, that, when used 
 on a disproportionately large scale, the delicate medium loses much 
 of its charm. The effect of several of these heads hanging on a wall 
 is of a monotonous smoothness, though individually they are 
 engraved with a portrait-painter's sense ot values. The experiment 
 had to be made, and probably no one else could have made it with 
 such convincing effect. 
 
 Another interesting tact about Frye is that he was the master 
 of William Pether, an engraver of original talent and distinctive 
 manner, who, like Frye himself, was a painter of portraits, some of 
 which he translated to the copper. Master and pupil became 
 partners, and Pether engraved some capital examples of Frye's 
 portraiture. Perhaps the most striking was that of Richard 
 Leveridge, the iollv old bass-singer and song-writer, who sang his 
 wav from Charles II. 's days to the end of George II. 's, and, when 
 close on ninety, backed himself for a hundred guineas to sing his 
 own " Roast Beef of Old England," or any other bass song, against 
 any man in the country. Frye had a special impromptu sitting at 
 the theatre from the young King George III. and his newly- 
 married Queen, and Pether's prints of the results were very popular. 
 Of his original plates the most interesting is his portrait-group 
 of The Brothers Smith of Chichester, all three painters, and one of 
 them, George, actually adjudged bv the Society of Arts to be a 
 better landscape-painter than Richard Wilson. Pether's chief dis- 
 tinction as a mezzotint-engraver, however, is not in his portraits, 
 but in his brilliant prints after Rembrandt and Wright of Derby. 
 With not so subtle a genius as Houston's for interpreting the 
 
 23 
 
wonderful master of Amsterdam, he mezzotinted with splendid 
 effect The Standard Bearer; A Jew Rabbi; Officers of State ; Rembrandt 
 with Sword and Breastplate ; Saskia; and The Lord of the Vineyard^ from 
 the last of which Ravenet made a very rich line-engraving. Yet, in 
 his interpretations of the artificial light effects of Wright of Derby, 
 Pether achieved, perhaps, his finest work, and among the triumphs 
 of mezzotint must always be reckoned A Philosopher giving a Lecture 
 on the Orrery (Plate XXIV.); Artist Drawing from the Statuette of a 
 Gladiator ; A Farrier s Shop ; and The Alchemist. 
 
 John Finlayson takes us once again among the beauties and the 
 theatre-folk, and with a sense of vivid charm. His heads of Lady 
 Melbourne and Miss Wynyard are, like Frye's, on too large a scale 
 for the delicacy of the medium, but his prints of the " Countessed 
 and double-duchessed " Gunning sisters, after Catherine Read, are 
 things of delight. The Duchess of Hamilton and Argyll (Plate XXV.), 
 looking with exquisite winsomeness from a most becoming hood, 
 makes one realise, more than any other print of that famous beauty, 
 the incredible stories told of the extravagant sensations her appearance 
 always provoked — the mobbings in the Mall, and even in St. 
 James's Palace ; how seven hundred people waited all night outside 
 a Yorkshire inn to see her grace start off in the morning, and how a 
 shoemaker made quite a considerable sum by charging a penny a head 
 to see the shoe he was making for her ; and so on. This is a rare 
 and valuable print, and sweeter, I think, than Robert Laurie's 
 larger and rarer plate from the same picture. But Finlayson did his 
 greatest service, maybe, in engraving so artistically those animated 
 pictures of Zoffany's, in which that admirable painter visualises for 
 us, as no mere description can ever do, the comedians in the very 
 act. The plays are as dead as the actors, but in the prints they 
 live for us in glimpses. A scene from "The Provoked Wife," with 
 Garrick as Sir John Brute^ in female disguise, and the watchmen ; 
 Samuel Foote, in his own play, "The Devil upon Two Sticks," with 
 the comic Weston ; a scene from " Love in a Village," with the 
 witty Ned Shuter, and John Beard, the famous tenor, who scandal- 
 ised society by marrying the Lady Henrietta Herbert, and giving 
 her no cause of complaint as a husband. Reynolds's Garrick as 
 Kitely in " Every Man in his Humour," is one of P'inlayson's best 
 prints ; then, there is Nathaniel Hone's portrait of the fascinating 
 opera-singer and dancer, Anna Zamperini (Plate XX VL), as Cecchina 
 in " La Buona Figliuola." Tenducct, too, the celebrated male soprano, 
 " a thing from Italy," as Smollett's Humphry Clinker described 
 him, when he heard his "divine warbling" at Ranelagh. 
 
 About this time Philip Dawe was doing, besides grotesque 
 caricatures of the fashions, some attractive pictorial prints, chiefiv 
 
 24 
 
after Henry Morkind, father of the famous George, such as The 
 Oystcr-ifonuin (Plate XXIII.) with its effective treatment of artificial 
 light; The Lcttcr-Wonian ; The Connoisseur; The Laundry-Maid. But 
 mezzotint was now l:)eing exploited in wider pictorial fields by a tar 
 more important engraver, indeed one of the most interesting of the 
 period, Richard Earlom. Son of the parish clerk of St. Sepulchre's, 
 he was born in 17^ ^^, and, while yet a little boy, his artistic instincts 
 were aroused by his chancing to see some decorative panels which 
 Cipriani had painted on the Lord Mayor's state coach. These 
 young Earlom copied so cleverly that the Italian painter consented to 
 take him as his pupil, entrusting him later with the reproduction ot 
 manv of his own crraceful desians. Earlom mastered mezzotint 
 earlv, and developed his own style, with a suavity rather than vigour 
 ot tone-treatment, and always an artistic sense of the pictorial. He 
 used etching tor emphasising form more systematically than any 
 previous engraver, save, perhaps, George White, and there is in the 
 British Museum a proof of the preliminary etching of the tamous 
 Floiver Piece, after Van Huysum, showing how completely he would 
 etch the design of a picture before grounding the plate. Mezzotint 
 with etching he used for his two hundred plates from Claude Lorrain's 
 Liher Feritatis, issued in 1777, a publication which directly inspired 
 the wonderful Liber Studiorum of Turner. But, earlier than this, 
 Earlom was engaged for Boydell on those pictures of the old foreign 
 masters trom the Houghton Gallery (Sir Robert Walpole's collection), 
 which were afterwards sold to the Empress Catherine. Among 
 the most important palates are Van Huysum's Fruit and Flower Pieces, 
 which are generally regarded as Earlom's masterpieces, the several 
 Market pictures of Snyders, a Hobbema Landscape, and various 
 other examples of the Dutch and Italian masters. But Earlom's 
 pictorial sympathies were wide ; and to all the painter's mastery of 
 harmonious detail in Hogarth's Marriage a la Mode (Plate XXIX.), his 
 own artistry was as responsive as it was to the broad contrasts ot light 
 and shade in A Blacksviitii s Shop (Plate XXVIII.), and The Forge, 
 ot Wright of Derby ; or the natural simplicity of The Shepherd Boy 
 VI a Storm, Girl and Pigs, and Cottage Children, of Gainsborough ; 
 or the vivacious contemporary atmosphere of Charles Brandoin's 
 Exhibition of the Royal Academy in Pall Mall in 1771, and The Inside 
 of the Pantheon in Oxford Road. This is a particularly interesting 
 print, for the famous building, which Walpole thought so fine, 
 now Gilbey's in Oxford Street, was then, with its music and 
 masqueraders, the haunt of the gay world, and not only a school, but 
 a very university, for scandal. Two fine prints oH Nelson, a half-length 
 after Lemuel Abbott, and a whole-length after Beechey, show Earlom's 
 qualities as a portrait-engraver, no less than Vandyck's charming 
 
 25 
 
James Stuart, Duke of Richmond, and Zoffany's Tom King and Mrs. 
 Baddeley in a scene from " The Clandestine Marriage." To no 
 engraver was ZofFany more indebted than to Earlom, as one may 
 reaUse from those interesting prints The Life-School at the Royal 
 Academy, introducing the persons of all the first Academicians, 
 except Angelica Kauffman and Mary Moser, whose portraits hang 
 on the walls ; George III. and his Family ; Tiger Hunting in the East 
 Indies; Colonel Mor daunt' s Cock-Fight at Luchiow ; and The Embassy oj 
 Hyderbeck to Calcutta. 
 
 IV. 
 
 The last quarter of the eighteenth century saw mezzotint 
 
 achieving its greatest triumphs, and these were inspired, for the most 
 
 part, by the portraits of beautiful women painted by the great group 
 
 of English portrait-painters who were making the period glorious in 
 
 the history of British art. It was the day of the fashionable beauty, 
 
 but happily also it was the day of the painter who saw her primarily 
 
 with a pictorial sense of beauty — to whom, in fact, she was for the 
 
 time being, not the much-talked-of Lady So-and-So, but the inspiring 
 
 subject for a picture. Yet, when we look at the lovely women on the 
 
 canvases of Reynolds and his compeers, with their decorative symmetry 
 
 and their characteristic calmness and dignity of beauty, it is difficult to 
 
 realise that this was a period of absurd and extravagant fashions, in 
 
 which these very women would make themselves conspicuous and 
 
 often ridiculous at Court or in the Mall, at Ranelagh or Vauxhall, 
 
 or anywhere but in Sir Joshua's studio. The beautiful and modish 
 
 Duchess of Rutland, who grumbled that Reynolds made her try on 
 
 a dozen dresses before he decided on that " bedgown of a thing," 
 
 in which he painted her, was actually mobbed in the Mall for 
 
 wearing a feather of gigantic size and extraordinary hue, in rivalry 
 
 with the Duchess of Devonshire, whose latest feather from Paris 
 
 had provoked the general envy : yet, in Valentine Green's print 
 
 she is the personification of serene and symmetrical beauty in decorous 
 
 pose. This was her true pictorial aspect as Reynolds conceived it. 
 
 With his painter's instinct he saw how these lovely women ought 
 
 to dress and bear themselves, and he refused to " uglify " them (to 
 
 borrow Fanny Burney's word), for posterity in the passing fashions 
 
 they affected. So, forgetting the reality, we go, as an old writer on 
 
 costume has said, " through a gallery of Sir Joshua's portraits with 
 
 feelings of intense satisfaction that there should have been a race of 
 
 women who could dress so decorously, so intellectually, and withal 
 
 so becomingly." For the other, the actual side of the picture, we 
 
 26 
 
must look to the contemporary fashion-chronicles, or J. R. Smith's 
 original prints, or those social caricatures, done many of them anony- 
 mously by eminent mezzotinters, and issued by Carington Bowles. 
 The prevailing dress ot Sir Joshua's portraits was certainly 
 not adapted for any active exercise or bustling movements, but if a 
 lady, wearing it, condescended to move at all, one can see her doing 
 it with dignified grace. Then, if she danced, the minuet would 
 reveal all the easefuUy elegant becomingness of the draperies, but no 
 quicker measure would be allowed. The high head-dress, too, with 
 its impression of mental dignity, would hardly permit any of the 
 flighty, boisterous indecorum one associates with the trivial ringlets 
 and dishevelled locks of the Lely period, but it was a coiffure in 
 which, though she could not romp or bustle, a woman might " smile 
 bewitching or frown deadly," be graciously interested or sovereignly 
 indifferent, sweet, feminine, earnest, confiding, or capricious, 
 piquant, provoking, flirtatious, always to the full of her charm. 
 And it is because ot this very latitude in the graces of temperament 
 and manner allowed to these lovely and stately ladies by the costume 
 in which Sir Joshua chose to paint them, that we would like to 
 believe it was the feminine ideal of their day. Anyhow, from the 
 pictures themselves, or the prints that reproduce them, we get an 
 aggregate impression of grace, refinement and beauty as character- 
 ising the period, and no medium brings this home to us as con- 
 vincingly as mezzotint. 
 
 It is a group of master-exponents of the art that we have now 
 to consider, and the genius of Sir Joshua Reynolds is their chiet 
 inspiration. Among these no name shines more brightly than that 
 ot Valentine Green. A Worcestershire youth, the son of a dancing- 
 master, after a futile apprenticeship to a country lawyer, young 
 Green began his art education in the Worcester porcelain-factory, 
 where he learnt line-engraving for transfer to the porcelain. Mezzo- 
 tint he learned there too, and his style was distinguished by a rich 
 velvety softness ot tone. Preparing a very finely rocked ground, he 
 would scrape the lights and tones with much refinement and delicate 
 precision, brilliant in effect, rather than with the broader sense of 
 values that marked the work of John Jones and John Raphael Smith 
 and his school. Unequal, of course, his plates were, for he engraved 
 some tour hundred, and many were masterpieces, but not a tew 
 showed the defect ot his qualities, which was a smoothness tending 
 sometimes towards monotony. He was soon engraving pictures by 
 some of the most prominent painters of the day. His early plates 
 included Gainsborough's elegant portrait of David Garrick, with his 
 arm encircling Shakespeare's bust, which Mrs. Garrick considered 
 the best portrait ever painted of her "Davy"; and Wright of 
 
 27 
 
Derby's remarkable Philosopher Showing an Experiment on the Air 
 Pump ; but it was Benjamin West's academic illustrations of classic 
 story that secured Valentine Green's great popularity and prosperity. 
 There was an immense demand for his print of Regulus returning to 
 Carthage.^ which contemporary taste appraised at two guineas, as 
 against the half guinea charged for the Garrick, and fifteen shillings 
 for the Air Pump and the Reynolds Beauties. Yet, nowa- 
 days, at the mention of Valentine Green's name, who thinks of 
 West's once popular prints, or even of Green's mezzotints of the 
 pictures of Raphael, Rubens, Vandyck, the Carraccis, Van der Werff, 
 in the Dusseldorf Gallery, that promising artistic venture which ruined 
 the engraver ? No, it is on his brilliant interpretations of the 
 masterpieces of Reynolds that Valentine Green's fame is now chiefly 
 founded. So rare and costly have fine impressions of these beautiful 
 plates now become, and so keenly are they desired by collectors and 
 wealthy Americans, that, when examples are forthcoming in the sale- 
 room, the bidding is apt to make for record prices. Every day, too, 
 they are becoming more familiar through the cheap and popular 
 reproduction. And what a dream of fair women it is that enchants 
 the mind as one looks from one to the other of these lovely prints ! 
 Lady Elizabeth Compton (Plate XXXVI.) ; Georgiana, Duchess of Devon- 
 shire, " splendour's fondly fostered child " ; Mary Isabella, Duchess of 
 Rutland (Plate XXXI.) ; Jane, Countess of Harrington (Plate XXXIII.) ; 
 Lady Louisa Manners ; Lady fane Halliday (Plate XXXIV.) ; Mary 
 Amelia, Countess of Salisbury (Plate XXX.) ; Louisa, Countess of 
 Aylesford {P\a.te XXXII.) ; Lady Betty Delme, with her two children; 
 Lady Henrietta Herbert ; Charlotte, Countess Talbot; Viscountess 
 Townshend ; and the Ladies Laura, Maria, and Horatia Waldegrave 
 (Plate XXXV.). Their very names are fragrant with the charm 
 oi personality and vivacious anecdote. What prizes these are 
 in fine proofs ; how rare Lady Aylesford without her name on 
 the pedestal ! And how very, very rare, as it is beautiful, The 
 Ladies Waldegrave, in such a superb proof as that in Mr. Fritz Reiss's 
 collection, reproduced in this volume. Surely this lovely print is 
 the chef d'ceuvre of Valentine Green's art, showing mezzotint at its 
 highest and most exquisite. And how grateful one may be that 
 Reynolds did not acquiesce in Horace Walpole's suggestion to paint 
 his grand-nieces as three Graces, adorning a bust of the Duchess of 
 Gloucester, their mother, as the Magna Mater. Prizes also are Miss 
 Sarah Cajiipbell and little Lady Caroline Howard ; and Mrs. Maria 
 Cosway's portrait of herself, a sparkhng print, delightful in the " first 
 state," though in the second the expression seems scarcely as pleasing ; 
 Mrs. Cosway's Duchess of Devonshire as Cynthia ; Angelica KaufFman's 
 Mrs. Fordyce (Plate XXXVII.) ; and Gainsborough's sumptuous 
 28 
 
Duchess of Cumberland, with those languishing eyes, which she could 
 animate to enchantment if she pleased, as evidently she did please, 
 when she captured the king's brother for her husband, and sacrificed 
 her true love. There are prizes for the collector also among the 
 men. Sir 'Josluia Reynolds himself, and his Sir William Chambers ; 
 Romney's Ozias Humphry and Richard Cumberland ; Gainsborough's 
 Garrick ; Wheatley's Henry Grattan ; George IVashington, both whole 
 and half-length, after Trumbell, of Connecticut ; and General Nathaniel 
 Greene, Washington's ablest lieutenant, after C. W. Peale, of Phila- 
 delphia ; Lemuel Abbott's portraits of himself, Valentine Green, hard 
 Nelson, Admirals Sir Peter Parker and Lo7~d Bridport, and IVilliam 
 Innes, the goiter. Splendid examples of his art, too, are Green's 
 large prints. The School and A Winter s Tale, after John Opie. 
 
 More individual in style than Green, one of the most brilliantly 
 accomplished among the great mezzotint-engravers of this period, 
 was Thomas Watson, and none brought to the interpretation of his 
 originals a truer artistic sympathy, or a more persuasive and delicate 
 technique. He was a fine draughtsman, and his unerring sense of 
 beauty in form and colour was the secret of his remarkable command 
 of all the pictorial suggestions of tone. Early death unfortunately 
 put a premature end to a career of abundant promise. In his father's 
 print-shop he came, while still a boy, into personal contact with the 
 engravers and their prints, and he seems to have been artistically 
 alert and quick to learn. He was only eighteen when he published 
 his first stipple print, and twenty when he began those mezzotint 
 translations of Sir Joshua Reynolds's pictures, which have given 
 him his high and distinctive position among interpretative engravers. 
 Of these plates, vivid in the expression of the painter's vision, the 
 pride of place belongs indisputably to his magnificent Lady Bampfylde 
 (Plate XXXIX.), which, ranking as one of the richest gems among 
 the masterpieces of the art, has, in a proof of exceptional brilliancy, 
 compelled the highest price ever given in the sale-room for a mezzo- 
 tint, namely, twelve hundred pounds. Of singular beauty, too, 
 though of softer charm, is the Mrs. Crewe, sitting as St. Genevieve 
 among her flocks, and in her expression of " less than dignity and 
 more than grace," one can read the justification of Sheridan's eulogy 
 when he dedicated to her his " School for Scandal." Splendid expres- 
 sive plates also are the Warren Hastings (Plate XL.), and David 
 Garrick, showing the engraver's grasp of Reynolds's understanding of 
 character ; beautiful his Mrs. Hardinge, his Lady Melbourne and 
 Child, and The Three Graces decorating a terminal figure of Hymen 
 (Plate XXXVIII.), in which Sir WiUiam Montgomery's fair 
 daughters, the three Irish Graces, as they were called, are represented 
 just before they became severally the Marchioness of Townshend, 
 
 29 
 
the Hon. Mrs. Luke Gardiner, and the Hon. Mrs. John Beresford. 
 The engraver's rich artistic quality is also potent in prints of such 
 varied pictorial interest as The Strawberry Girl and Resignation, of 
 Reynolds ; Madame Du Barry, of Drouais ; Miss Kitty Dressing, ot 
 Wright of Derby (Plate XLII.) ; the charmingly animated Lady 
 Rushout and Children (Plate XLL), after Gardner, and the series ot 
 six Windsor Beauties, in which Lely's sumptuous portraiture gains 
 immeasurably by the deep simple harmonies of this engraver's tones. 
 
 Associated with Thomas Watson in printselling, and of close 
 affinity with his style and technique, was his intimate friend 
 William Dickinson. With a pictorial sense that was exquisite, and 
 a touch full of vivacity and vigour, Dickinson, of course, became 
 one of Sir Joshua's trusted interpreters. His prints after the master 
 are among those most valued by collectors, and certainly few surpass 
 in brilliancy of artistry the Diana, Viscountess Crosbie (Plate XLIII.) ; 
 Mrs. Pelham feeding Chickens ; Lady Taylor ; Elizabeth, Countess oj 
 Derby, the lovely daughter of Elizabeth Gunning ; Jane, Duchess of 
 Gordon, the indomitable, imperious, witty, good-natured beauty, 
 with a very broad Scotch accent ; Lady Charles Spencer ; Mrs. 
 Matliew, the Irish beauty ; Dr. Percy, of " Reliques " fame ; and 
 Mrs. Elizabeth Sheridan as St. Cecilia, to the original of which Lord 
 Mount Edgcumbe, in his " Musical Reminiscences," referred those 
 who had never seen her for " some idea of the peculiar expression 
 of her angelic face." The charm of Romney Dickinson rendered 
 with fascinating effect in the delightful Miss Benedetta Ramus 
 (Plate XLIV.), a print much prized ; while he showed a vivid 
 sympathy with the art of Rev. Matthew Peters in Elizabeth 
 Stephenson (later the Countess of Mexborough) ; Lady Charlotte 
 Bertie; Mary Dickinson (" the Country Girl ") ; Sir John Fielding, the 
 blind magistrate ; and the alluring Lydia. Gardner's Mrs. Gwyn 
 and Mrs. Bunbury, as the " Merry Wives of Windsor," and Beach's 
 Tenducci, are also desirable prints of Dickinson's. 
 
 Among all the masterpieces of mezzotint, none shows with more 
 convincing art the capacity of the medium to interpret the quality 
 of a painter qua painter, while at the same time completely satisfying 
 the sense of pictorial beauty, than John Jones's Mrs. Davenport 
 (Plate XLVL), after Romney. Alive with joyous charm, this is 
 essentially a print to live with, and enjoy untiringly. Every touch 
 of the engraver seems to have been as spontaneously inspired as the 
 painter's by the delightful vivacity of the lovely model. No wonder 
 this is one of the most highly prized of beautiful mezzotints, and 
 that when a brilliant impression finds its way to the sale-room — a 
 rare occurrence — the bidding is keen, and does not stop short of five 
 or six hundred pounds. The virile touch of John Jones never 
 
 3° 
 
lacked charm, its breadth and boldness being always subject to the 
 refining influence of beauty. He must have been able to look at 
 his originals with the actual sense of the painter looking directly at 
 his model, for, whoever the artist they interpret, Jones's prints 
 seem to me always to suggest portraiture done at first hand, so full 
 are thev ol vitality and the energy of character. Look at the 
 enchanting Madivne Giovanna BacccUi (Plate XLV.), the celebrated 
 dancer at the Opera and the Pantheon. It is difficult to imagine 
 that even Gainsborough's magic touch could realise tor us more 
 spontaneously the rhythmic movement of the dancer in the 
 opening of her pas de fascination, or suggest more vividly the actual 
 woman, who, in spite of the gossip that amused Walpole to repeat, 
 lived in the odour of benevolence and Mayfair respectability. And 
 it was just this genius for seeing the living man or woman through 
 the painter's canvas that made Jones as successful with Gainsborough 
 — most difficult of painters to translate to the copper — as with 
 Romney, Reynolds, Raeburn, or Hoppner. There is Romney's 
 Edmund Burke (Plate XLVII.), for instance, with the very man 
 brought more intimately to us, I think, through Jones's print, than he 
 is by Reynolds's portrait as James Watson engraved it. How 
 Romney's large pictorial simplicity appealed to Jones's broad sense of 
 tone, one may see also in the William Pitt ; Hon. Mrs. Beresford : 
 Caroline, Duchess of Marlborough ; and the Earl of Westmoreland, in his 
 peer's robes, a decorative print in which etching has been freely used 
 for emphasising small detail. The virile art of Raeburn inspired 
 Jones's scraper to impressive effect in the Robert Dundas; while the 
 Charles James Fox ; James Boswell ; Lord Erskine ; Lord Townshend znd 
 Earl of Moira are among the most powerful and desirable prints of 
 Reynolds's male portraits. Expressive charm and distinctive artistic 
 quality stamp the Lady Caroline Price and Frances Kemble, the 
 untalented, but sweetly companionable, sister of Mrs. Siddons, in a 
 black or a white dress ; but a more imposing Reynolds, though less 
 interesting, is the Hon. Mrs. Tollemache, as Miranda ; while the 
 bewitching Mrs. Jordan as Hippolyta, after Hoppner, makes one 
 understand Hazlitt saying that she " rioted in her fine animal spirits, 
 and gave more pleasure than any other actress, because she had the 
 greatest spirit of enjoyment in herself." The pretty Black Monday, 
 or the Departure for School (Plate XLVIIL), and Dulce Domum, or the 
 Return from School (Plate XLIX.), after the homely idyllic William 
 Redmore Bigg, show how engagingly Jones could adapt his art to 
 the popular picture. 
 
 Robert Dunkarton, a pupil of Pether, had a long and meri- 
 torious career, but it was not often that he showed such artistic 
 mastery as in the Lord Liford, after Reynolds, a plate of exceptional 
 
 31 
 
brilliancy. The most charming of his prints, however, is that of 
 Sir Joshua's beautiful Mary Horneck, Goldsmith's "Jessamy Bride." 
 The print-shop windows were keenly watched day by day for the 
 new print of latest topical interest, and the publication of Oliver 
 Goldsmith's portrait in the same year as " The Deserted Village" 
 would be an event for " the town " to talk about. " We have the 
 mezzotinto print of the new poet, Doctor Goldsmith, in the print- 
 shop windows. It is a profile from a painting of Reynolds, and 
 resembles him greatly," wrote a contemporary chronicler. The 
 engraver of this brilliant print, which was done under the painter's 
 supervision, was Giuseppe Marchi, a young Roman, whom Reynolds 
 had brought with him from Italy, kept in his house, and employed 
 as a studio-assistant. He did other plates also after Reynolds, which 
 collectors value : Mrs. Bouverie and Mrs. Crewe ; Hester Frances 
 Cholmondeley., a winsome child with her dog ; Elizabeth Hartley., the 
 lovely golden-haired actress, with her child ; and George Colman, the 
 dramatist. This last was the print to which Goldsmith referred 
 when he wrote, in 1770, to his brother in Ireland, "I will shortly 
 send my friends over the Shannon some mezzotinto prints of myself, 
 and some more of my friends here, such as Burke, Johnson, Reynolds, 
 and Colman." Marchi scraped smoothly harmonious tones on a very 
 fine ground. Bold and vigorous, on the contrary, was the touch of 
 William Doughty, another ot Sir Joshua's pupils and assistants, who 
 engraved the master's Dr. Samuel Johnson, now in the National 
 Gallery, Admiral Keppel., and Miss Mary Palmer, all powerful plates. 
 The most talented of Valentine Green's pupils was James 
 Walker. A really great engraver, his rich simplicity in the handling 
 of tones, his fine intuition as to the pictorial essentials, and his 
 happy instinct for the sufficing touches, rendered him peculiarly 
 sympathetic with the art of Romney, and one of the most felicitous 
 of his interpreters. Indeed, some ot Walker's prints after that 
 master are among the gems of mezzotint. Certainly none of the 
 gracious translations from the canvas to the print of Reynolds's full- 
 length portraits of women excels, in all the qualities that go to make 
 a superb mezzotint rendering of a beautiful picture. Walker's Lady 
 Isabella Hamilton (Plate LI.), after Romney ; while scarcely less com- 
 plete in sheer beauty of accomplishment is the Miss Frances Woodley 
 (Plate L.). Then the Mrs. Musters (Plate LIL), with the delicate 
 shadow from the hat, how full of true Romney charm ! The 
 Caroline, Countess of Carlisle, too. And how finely interpretative the 
 Admiral Sir Hyde Parker, and John Walter Tempest (Plate LIIL), the 
 graceful youth with his horse, though one could wish Romney had 
 given him a better mount. The Spell, after Northcote ; and Sylvia, 
 after Peters, show how persuasively Walker could engrave the 
 
 32 
 
popular subject ; while in Hannah teaching Samuel to Read (Plate 
 LIV.), after Rembrandt, an excessix ely rare print, his breadth of 
 conception and sensitive manipulation reveal his responsiveness to 
 really great art. 
 
 John Dean, one ot the most distinguished of Valentine Green's 
 pupils, had a style ot great refinement and delicacy. Very lovely is 
 his rendering of Romney's Elizabeth, Countess of Derby (Plate LV.), so 
 great a contrast in its quiet simplicity of " beauty unadorned," to 
 the decorative opulence with which Reynolds treated the same 
 beautiful subject, as we see in Dickinson's print. Tenderness of 
 tone, too, we find in Miss Ann Parr, and in the sensitive modelling 
 ot Romney's nude study of the boy, Master 'James Paine, as it invests 
 with peculiar charm Dean's treatment of several child-pictures by 
 Sir Joshua, such as the hady Gertrude Fitzpatrick as "Collina" ; Cupid 
 with a Torch; and Cupid M sleep. Perhaps the most successful of his 
 Reynolds prints is Lady Elizabeth Herbert, with her little son. The 
 gracious appeal ot Hoppner is eloquent in the engaging Julia de 
 Roubigiie (Miss Crockatt), and Phcebe Hoppner (" Caroline of Litch- 
 field ") ; while Gainsborough's glorious art found sympathetic inter- 
 pretation with Dean in Mrs. Grace Dalrymple Elliott, that remarkable 
 woman who, as she tells in her " Journal," was asked in marriage 
 by Bonaparte, after she had been loved by, among several others, 
 George, Prince of Wales, Philippe " Egalite," Due d'Orleans, and the 
 husband of Josephine de Beauharnais, who made love to her in the 
 Carmes prison while the guillotine was waiting for him. 
 
 The most original artist and remarkable personality among the 
 engravers of this period was John Raphael Smith, whose name calls 
 at once to mind an extensive gallery of prints which show the art of 
 mezzotint at the summit of its achievement, and with a pictorial 
 scope of unusual expansion. Himself a painter, with a spirited 
 touch and vivid sense of personality in portraiture, and a lively 
 pictorial vision for the vivacities of fashion and feminine manners, 
 all his engraving was distinguished by an understanding of the 
 painter's art not less than Jones's, yet, perhaps, more subtle. It was, 
 in fact, the very genius of interpretation that impressed the best of 
 his copper-plates, many of which deserve the distinction of master- 
 pieces. The details of his life may be read with interest in 
 Mrs. Frankau's picturesque biography. A son of Thomas Smith, of 
 Derby, a plodding conventional landscape-painter, young Smith was 
 at ten years of age apprenticed to a local linen-draper. Out of 
 business hours he used his pencil freely, and developed a graphic 
 facility, which, with his commercial training, stood him in good 
 stead when, in his sixteenth year, and free of his apprenticeship, he 
 came to London. The drapery trade still claimed him, but his 
 
 » 33 
 
artistic instincts were soon alert when he looked into the printshop 
 windows, or visited the exhibition of the Incorporated Society of 
 Artists. How he learned the process of mezzotint, and from whom, 
 " might admit a wide solution," as Sir Thomas Browne would say ; 
 but at seventeen years of age he scraped and published his first plate, 
 a portrait of General Pascal Paoli, the Corsican patriot, then an exile 
 in London. The subject was popular, and the print sold so well 
 that, in the same year, 1769, this precocious youth became a married 
 man, a father, and a professional engraver. Henceforth, he worked 
 with impetuous industry; scraping mezzotints, the anonymous "pot 
 boiler " as well as the work of art that glorified his name, stippling 
 Morland's or his own designs, painting portraits in oil or pastel, 
 always sanguine, and enjoying to the full all that life could give him, 
 artistic activity, commercial adventure, domesticity, paternity, and 
 every form of conviviahty. Fashion smiled upon him, and fortune 
 favoured him. The modish woman, who patronised his drapery shop 
 in the Strand, would stop to buy also his appeaHng prints, A Lady in 
 Waiting (Plate LXXIV.), perhaps, or Lox;^ in Her Eyes sits Playing (Plate 
 LXXL), or the gallant and handsome Colonel Tarleton (Plate LVI.). 
 Or, dehghted with her purchase, say, of the newest Italian lappets 
 filigreed with flowers, and a satin saque of the new pale blue shade, 
 she would go straight from Smith's shop to his studio and demand 
 to be painted, confident that she could look quite as well in these 
 things as her Grace of Devonshire herself. Smith's personality 
 loomed larger and larger in the art-world of the day ; and how 
 eagerly the painters must have desired his mezzotinting we can 
 divine when we look at his many masterpieces. What a gallery it 
 is ! All Gainsborough's easy, vivacious elegance and masterful 
 balance of tones are in the Sir Harbord Harbord (Plate LXVII.) and 
 the George, Prince of Wales, with his horse, which is to say that they 
 are interpretations par excellence. Reynolds's wide range of pictorial 
 beauty also inspired John Raphael Smith to consummate engraving in 
 the exquisite Mrs. Carnac (Plate LVIIL), a wonderful print that has 
 a sale-room record of eleven hundred and sixty guineas ; the scarcely 
 less beautiful Mrs. Musters, especially lovely when printed in a pale 
 black ink giving silver-grey tones instead of the brown in which 
 it is more often seen ; the Hon. Mrs. Stanhope ; the delicious 
 Mrs. Payne Gallwey and Child (Plate LVII.) ; and Lady Hamilton as a 
 Bacchante, of which, by the way, a unique impression, with an 
 engraved border to match Smith's equally beautiful Lady Hamilton 
 as Nature, after Romney, has, I hear, been actually sold for a 
 thousand pounds, a price certainly never yet bid for this print at 
 Christie's. But Smith's prints need no uniqueness of impression to 
 make their appeal to collectors ; their intrinsic beauty suffices. So 
 
 34 
 
collectors' prizes are also, among the Reynolds examples, Lady 
 Beaumont ; Lady Catherine Pel ham-Clinton ; Lady Caroline Montagu ; 
 Mrs. Henrietta Morris ; Theophila Palmer; Mrs. Mor daunt ; Giovanna 
 Baccelli ; Madame Schindlerin ; Lord Richard Cavendish ; Colonel 
 Tarleton (Plate LVl.) ; Master Crewe as Henry VIII. ; and the 
 Rev. Richard Robinson, Archbishop of Armagh, and later. Lord 
 Rokeby, with its splendid deep tones, a true masterpiece. 
 
 The exquisite charm of Romney's art found ideal expression 
 on J. R. Smith's copper-plates, and among the most beautiful 
 mezzotints in existence are the Goiver Family (Plate LX.) ; Louisa, 
 Viscountess Stormont ; Mrs. Carivardine and Child (Plate LXIV.) ; 
 Serena (Miss Sneyd) (Plate LXI.) ; The Clavering Children (Plate 
 LIX.) ; Mrs. Robinson, " Perdita " (Plate LXIII.) ; Mrs. Stables and 
 Family (Plate LXV.) ; Miss Cumberland (Plate LXII.) ; Hon. Mrs. 
 North ; Henrietta, Countess of Warwick ; and Tayadaneega, Joseph 
 Brant, the famous Indian chieftain. Hoppner's Hon. Mrs. Bouverie is 
 a charming print, while the fascinating Mrs. Phcebe Hoppner, known as 
 Sophia Western (Plate LXVIII.), is a print that every collector desires. 
 There are three known published " states," the first with the title in 
 open letters, the second with block letters, and the third with little 
 shadow cast by the hat over the eyes, no ear-rings, and the hair in 
 ringlets. The reproduction in this volume is from a unique 
 " engraver's proof," before the aquatint border was added, with 
 essential differences in the features and expression, and a very slight 
 shadow where the published plate shows much. Lawrence's 
 male portraiture is finely represented in the vigorous and 
 characteristic yohn Philpot Curran and the Lord Eldon ; while John 
 Opies' Almeria (Mrs. Meynott) is a splendidly live print. Smith's 
 artistic response to the Rev. Matthew Peter's vivacious sense of 
 pictorial charm was expressed in such delightful prints as the 
 Hon. Mrs. O'Neill ; Lady Elizabeth Compton (Plate LXX.) ; Love in her 
 Eyes sits Playing (Plate LXXL) ; and The Fortune-Teller (Plate LXIX.). 
 Henry Walton's The Fruit Barrow (the Walton family) (Plate LXVL) 
 is one of the very best and most valuable of Smith's mezzotints, 
 while among other desirable prints are Wright of Derby's Synnot 
 Children; Engleheart's Mrs. Mills; W. R. Bigg's Lady and her 
 Children Relieving a Poor Cottager ; A. W. Devis's fascinating Mdlle. 
 Parisot (Plate LXXIL), the opera-dancer— a rare thing ; and 
 Lawrenson's A Lady at Haymaking. Then, of course, there are 
 Smith's mezzotints after Morland, whose genius he exploited so profit- 
 ably and interpreted so magnificently. Among the gems are Return 
 from Market (Plate LXXIIL), one of the most beautiful of Morland 
 prints ; Feeding the Pigs ; and Selling Fish. But J. R. Smith was 
 far from being only an interpretative engraver. His clever original 
 
 35 
 
portraiture is seen in such spirited prints as George Morland ; Sir 
 Nathaniel Dance ; Mrs. Smith; Mrs. Smith and Mrs. Protheroe ; and 
 the set of six ladies of the demi-monde. To his quick eye tor the 
 pictorial aspect of the fashionable life of his day we owe that 
 charming and very rare print, The Promenade at Carlisle House 
 (Plate LXXVI.), which gives us a vivid glimpse of that famous 
 rendezvous of fashion and gaiety under the rule of the celebrated 
 Mrs. Cornelys. The feminine vanities, as Smith saw them with 
 a relish of humour, are alive in such vivacious prints as A Lady in 
 fVaiting (Phte LXXIV .) ; Painting; A Man-Trap (Plate LXXV.); 
 hady Leaving the Circulating Library ; and The Singing Bird (Plate 
 LXXVIII.), presumably his ; while the Christmas Holiday (Plate 
 LXXVII.) shews the artist in a playfully idyllic mood. 
 
 J. R. Smith's celebrity as painter and engraver, of course, 
 drew many pupils eager to acquire so masterly a touch and method, 
 and among these were some whose names were destined to echo 
 along the " corridors of time." Peter de Wint and Joseph Mallord 
 William Turner actually began their artistic careers under his 
 influence, and it was in Smith's workroom that Turner gained that 
 insight into the principles and practice of engraving which enabled 
 him, in later years, not only to etch and mezzotint several plates of 
 his Liber Studioriim, but to train and discipline some eighty engravers 
 in the more delicate manipulation of their art required for the inter- 
 pretation of his exquisite drawings. But it was through such 
 distinguished disciples as William and James Ward, John Young, 
 Charles Howard Hodges and Samuel William Reynolds that John 
 Raphael Smith exercised his influence on the reproductive engraving 
 of the period. 
 
 Wilham Ward, with a very considerable talent of the assimila- 
 tive rather than original order, had proved an invaluable assistant, 
 and Smith was glad to retain even a portion of his service by trans- 
 ferring to him the indentures of his younger and more artistically 
 gifted, but querulous brother, James Ward. There can be no doubt 
 that many plates which bear J. R. Smith's name with distinction 
 had a good deal of the assimilative William Ward's splendid work 
 in them. In like manner, it is very probable that several of WilHam 
 Ward's signed plates — perhaps some of his most artistic — were 
 "forwarded" to a large extent by James, his apprentice. This 
 would be only in accordance with the traditions of art. Because 
 Rubens and Vandyck employed their pupils largely upon important 
 pictures, these are not the less regarded as the works of Rubens and 
 Vandyck. Yet Mr. Reginald Grundy, in his enthusiastic admiration 
 tor James Ward, wants us to believe that some of the most beautiful 
 and accomplished plates that stand to the credit of Wilham Ward, 
 
 36 
 
the master, were entirely the work of James, the pupil. He argues 
 that the technique in the mezzotints of Morland's Cottagers (Plate 
 LXXXV.) and Travellers is the same as that found in James Ward's 
 own Morland print, ^^ Bny employed in BurningWeeds or A View in Leices- 
 tershire {^X^X^ XCIII.) which, of course, would not be surprising, even 
 without the probability that he assisted in engraving the first-named 
 plates, since it was his brother William who had taught him his 
 technique. Then, Mr. Grundy cites an anonymous biography of 
 James Ward, published in 1807, supposed to have been written by 
 himselt. In this it is claimed that Cottagers and Travellers, and 
 Children at Play, which, because it cannot be traced among the 
 Morland prints, we are asked to accept as a general title for three 
 oi the loveliest and best-known of William Ward's mezzotints after 
 his brother-in-law, were all done by James Ward. And we are 
 expected to believe this because William allowed the statement to 
 pass unchallenged. Of course he ignored it ; he had put his name 
 to those prints, and that was sufficient, for his reputation stood high. 
 At the same time he would know that his brother's vanity and 
 habit of self-praise would easily magnify any assistance he had 
 rendered into a right to claim the whole work as his own. William 
 admired James's artistic abilities, and he had ever been a generous 
 brother. 
 
 The fact is, both brothers were first-rate engravers, but William's 
 is the more important record, only because James gave up engraving 
 when at his best, to win tame as an animal painter. No mezzotint 
 is more familiar in reproduction than William Ward's superb 
 Daughters of Sir Thomas Frankland (Plate LXXXI.), a charming 
 Hoppner, and this is a print with a four-figure record at Christie's. 
 Ward's other Hoppner prints of precious appeal are Elizabeth, 
 Countess of Mexhorough (Plate LXXIX.) ; the fascinating Salad Girl 
 (Phoebe Hoppner) (Plate LXXX.) ; Mrs. Benwell ; and perhaps 
 The Sleeping Nymph. After Sir Joshua Reynolds there are The 
 Snake in the Grass (Plate LXXXII.) and Miss Bowles (juvenile 
 Amusement). William Ward was strong in male-portraiture, fine 
 examples being Lawrence's fames. Earl of Malmesbury ; Nathaniel 
 Dance's Arthur Murphy ; Geddes's Sir David Wilkie and Kev. George 
 Baird ; and J. R. Smith's William Cobbett, fohn Home Tooke and Sir 
 Francis Burdett. Smith's engaging pictorial manner also appealed 
 to Ward's spirited scraper in Retirement (Mrs. Brudenell) and The 
 Widow's Tale, as did Northcote's in A Young Lady Encouraging the 
 Low Comedian. The rustic pictures of his brother James naturally 
 he engraved with special sympathy, such as the Vegetable Market ; 
 Compassionate Children (Plate XC.) ; the rare Summer and Winter ; 
 Outside of a Country Alehouse ; Industrious Cottagers ; and The Hay- 
 
 Z7 
 
makers. But it is in his prints after George Morland, especially 
 the children-subjects, that one sees William Ward's happiest inspi- 
 ration. One may name a few of special charm. Blind Man s Biijf 
 (Plate LXXX IV.) ; Children Birds nesting ; 'Juvenile Navigators ; The 
 Kite Entangled (Plate LXXXIII.) ; A Visit to the Child at Nurse ; 
 A Visit to the Boarding School. Then, The Pledge of Love (Plate 
 LXXXVIII.) and Contemplation., both very rare ; The Coquette at her 
 Toilet (Plate LXXXIX.) ; Pleasures of Retirement (Plate LXXXVII.) ; 
 The Contented Waterman (Plate LXXXVI.) ; First oj September ; 
 Morning and Evening ; Alehouse Politicians ; The Farmer's Stable ; 
 A Carrier s Stable ; Cottagers (Plate LXXXV.) ; Travellers ; and 
 The Angler s Repast. 
 
 Although James Ward's mezzotints were fewer than his 
 brother's, they were equally distinguished by a powerfully artistic 
 use of the medium, while his more original pictorial sense gave 
 occasionally, perhaps, more ireedom to his touch. In his Mrs, 
 Billington, the celebrated singer, after Reynolds, for example, and 
 notably in Mrs. Michael Angelo Taylor., as Miranda, after Hoppner, 
 a very rare and splendid print, which, though never claimed bv 
 William Ward, was always attributed to him, until the late Mr. 
 Alfred Whitman traced the words " Engraved by James Ward " on 
 the only known impression that bore any engraver's name. Finely 
 also he interpreted Hoppner in the charming Lady Heathcote as Hebe ; 
 Juvenile Retirement (children of the Hon. John Douglas) ; Children 
 Bathing (Hoppner's own children) (Plate XCI.) ; and Mrs. George 
 Htbbert. James Ward put all his painter's feeling into the engraving 
 of his own Poultry Market ; Fern Burners ; Lion and Tiger Fighting ; 
 Rustic Felicity; and The Rockitig Horse; while, equally with his 
 brother, he conveyed in mezzotint the live pictorial qualities of 
 Morland's A Boy employed in Burning Weeds {A view in Leicestershire) 
 (Plate XCIII.) ; Fishermen (Plate XCIV.) ; and Smugglers. The 
 Angry Father (Plate XCII.), alter Opie ; Henry Erskine, after 
 Raeburn ; Richard Burke, after Reynolds ; and The Centurion 
 Cornelius, after Rembrandt, which Ward considered his best plate, 
 show his facility with other painters. 
 
 John Young also especially excelled in his rendering of 
 Hoppner, and his prints after that master most valued by collectors 
 are The Setting Sun (Godsall children) (Plate XCVI.) ; Lady Lambton 
 and Family (Plate XCVII.) ; Mrs. Bunbury ; Mrs. Gwyn ; George 
 Canning; Richard, Marquess Wellesley ; Lady Charlotte Greville ; 
 Mrs. Or by Hunter; Eliza (Mrs. Hoppner); Viscount Hampden; 
 and The Show (Plate XCVIIL). Young engraved some of the 
 interesting theatrical portraits of ZofFany, as well as that painter's 
 charming Flower Girl, a companion print to the Watercress Girl 
 
 .38 
 
of J. R, Smith ; while a very clever piece of engraving, and an 
 extremelv rare print, is his Toung Lady at her Toilet (Plate XCIX.), 
 from the quaint and original design of George Watson, the Scottish 
 painter. 
 
 The mezzotints of Charles Howard Hodges have much of the 
 bold technique, the painter's feeling, and great style of liis master, 
 J. R. Smith, and particularly excellent are Mrs. Musters as Hebe ; 
 Lavinia, Countess Spencer ; Guardian Angels (Plate XCV.) ; The Infant 
 Hercules ; and Mrs. William Hope., of Amsterdam, all after Reynolds. 
 His fine artistic quality also makes memorable prints of The Ship- 
 builder of Rembrandt; the Duke of Clarence of Hoppner; and 
 Rutger Hans Schimmelpenninck from Hodges's own painting, done 
 during his stay in Amsterdam. 
 
 Gainsborough's elusive technique was interpreted with under- 
 standing by his nephew and pupil, Gainsborough Dupont, in some 
 prints of quality, such as Queen Charlotte ; The Three Eldest Princesses ; 
 Mrs. Sheridan — exceedingly rare; General Conway; Lord Rodney; 
 Rev. Sir Henry Bate Dudley, the Fighting Parson, who started the 
 Morning Post ; and Colonel St. Leger (Plate C), of Hell Fire Club 
 and Doncaster races memory, the hero of many a wild, extravagant 
 and scandalous story. 
 
 An admirable impression ot Gainsborough's touch and style is 
 lii-iewise given by the Hon. Mrs. IVatson (Plate CL), a capital piece 
 of mezzotinting by Thomas Park, who showed charm also in 
 Reynolds's Miss Penelope Boothby ; Beechey's graceful Children at Play 
 (the Oddie children) (Plate CII.) ; and one or two prints of 
 theatrical interest, Mrs. "Jordan as the Comic Muse, for instance. 
 Robert Laurie also takes us to the theatre, to see scenes from The 
 School for Scandal and She Stoops to Conquer, with the original actors ; 
 besides Garrick led off the Stage by Time, after Parkinson. The 
 Duchess of Hamilton and Argyll, after Catherine Read, the same 
 picture as the better-known print by Finlayson, is, however, the 
 rarest and most valuable print by this interesting engraver, who, in 
 1776, invented the approved process of printing mezzotints in 
 colours from a single plate. Of Jonathan Spilsbury not much need 
 be said. His most accomplished engraving is Mrs. Richards, after 
 Gainsborough, but there is ability, if no great distinction, in 
 Reynolds's Miss Jacob, and Countess of Ancrum, and A Dutch Lady, 
 after Rembrandt. 
 
 By John Jacobe, a Viennese, who came to London to learn the 
 " English manner," we have two beautiful prints after Reynolds, 
 Miss Meyer as Hebe (Plate CIII.), and Hon. Mary Monckton (Plate 
 CIV.), which brings to the eye Fanny Burney's vivid pen-portrait of her 
 with that " easy levity of air, manner, voice, and discourse," which 
 
 39 
 
seems to have made talent and fashion feel equally at home at her 
 unconventional assemblies. John Murphy engraved several meri- 
 torious plates of portraits and also pictorial subjects, such as 
 The Encampment at Brighton, and its companion, Departure from 
 Brighton (Plate CV.), after Wheatley ; but none of his prints had 
 more contemporary interest than The Perilous Situation of Major 
 Money (Plate CVL), after Philip Reinagle, showing that intrepid 
 " airgonaut," as Walpole called those first balloonists, when he had 
 fallen into the sea with his balloon off the Norfolk coast, on 
 July 23, 1785. 
 
 In George Keating Ireland sent us one of the most masterly 
 mezzotinters of his day. His delightful Georgiana, Duchess of Devon- 
 shire, dancing her baby daughter on her knee, is quite a collector's 
 prize, while fine prints likewise are his Ear i of Stamford ; and also the 
 Countess, after Romney ; Edward, Earl of Derby, after Gainsborough ; 
 and fohn Ketnbie as Richard III., after Stuart. But it is as an inter- 
 preter of Morland that Keating is seen at his very best. Children 
 playing at Soldiers (Plate CVIII.) being a delicious gem, while scarcely 
 less admirable are The Angling Party ; Nurse and Children in a Eield ; 
 and the four plates of The Deserter (Plate CVII.). Charming Morland 
 prints also are Children Nutting (Plate CXI.), by the versatile Edward 
 Dayes; Temptation (Plate CIX.), by William Humphrey ; and Joseph 
 Grozer's Morning, or The Benevolent Sportsman ; Evening, or 'Hie 
 Sportsman's Return ; and Touth Diverting Age (Plate CXII.). Though 
 Grozer was an engraver of the sound rather than brilliant order, 
 there was also considerable charm in his Hon. Frances Harris (Plate 
 CXIII.), Lady Seaford and Child, and Viscountess Duncannon, after 
 Reynolds ; Lady Charlotte Legge, and Lord Cardigan, after Romney ; 
 and Miss Wallis, after Graham. 
 
 Henry Hudson, Charles Phillips, and Henry Meyer have come 
 to be regarded almost as " single-print men," for each is honoured 
 in the sale-rooms for only one print of exceptional charm, bril- 
 liancy, and rarity, although all three engraved other plates of merit. 
 Hudson's Mrs. Curtis (Plate CX.), which the veteran Mr. Pollard 
 believes he has identified as a portrait of Mrs. Walton, wife of 
 the painter of the original, is a fascinating print that every collector 
 desires, but very few can acquire. Charles Phillips's Nelly O'Brien 
 is as brilliant and beautiful in its treatment of light and shade as 
 Reynolds's picture in the Wallace collection ; while Henry Meyer's 
 Emma, Lady Hamilton, as Nature (Plate CXX.), after Romney, though 
 differing in expression from J. R. Smith's more joyous version, is a 
 close rival to it in quahty and rarity. Josiah Boydell, the great 
 printseller's nephew and successor, is also known chiefly by one print, 
 a fine rendering of Rembrandt's Cornells Claes Anslo and a Woman. 
 
 40 
 
George Dawe, Philip's elder son, who " proceeded Academi- 
 cian," as a portrait-painter, practised mezzotint for a few years, and 
 Charles Lamb, who despised him as a man and a painter, says that 
 he was ordinarily " at his graving labours for sixteen hours out of 
 the twenty-tour." His mezzotinting had great breadth and purity, 
 producing deep, rich tones, and he aided it little with etching. His 
 finest prints were after Raeburn, notably the Henry Dundas ; while 
 alive with true painter's quality was his rendering ot William 
 Owen's yohn Peter Salomon, the celebrated musician, tor whose 
 concerts Haydn composed twelve memorable symphonies. It was 
 probably George Dawe who induced his friend and fellow pupil, 
 Charles Turner, to become a mezzotint-engraver, and most of the 
 900 and odd plates he engraved in the course of his long life — 
 1774 to 1857 — were done in that medium. His style was bold 
 and free, and with mezzotint he combined, with very artistic effect, 
 etching to strengthen the definition of tones, and aquatint to soften 
 and modulate them. 
 
 From the year 1796, when he published his first print. Turner 
 worked with prodigious industry, the plates of his earlier years 
 representing him at his best, before the popular demand compelled 
 him to work upon the steel. His broad touch, developed no doubt 
 under the personal influence of John Jones, interpreted splendidly 
 the breadth and strength of Raeburn, notably in the Sir Walter Scott 
 and Dr. yohn Robison, but no less successful was he in rendering the 
 elegance and brilliancy of Hoppner. The Lady Louisa Manners 
 (Plate CXVI.) and Countess of Cholmondeley with her little son (Plate 
 CXI v.), are two of the most attractive and valuable mezzotints of 
 their period. The Lord Nelson (Plate CXVII.) is one of the finest 
 prints we have of the immortal admiral, while in the rare Miss 
 Harriet Cholmondeley (Plate CXV.) all the winsomeness of childhood is 
 delicately expressed. Among other prints of Turner's that may be 
 worth a collector's seeking are Lawrence's Marquess IVellesley, Viscount 
 Melville, Viscount Castlereagh, Lord Erskine, Lord Rllenborough and 
 Mrs. Stratton ; Russell's Mrs. Scott-Waring and her Children ; 
 Masquerier's Mrs. Mountain, the dramatic singer ; Sir Martin Archer 
 Shee's Lavinia, Countess Spencer • the engaging Le Baiser Envoye of 
 Greuze ; Interior of a Cottage (Plate CXVIIL), and The Little Cottager, 
 two very fine mezzotints after Gainsborough. Turner also made 
 some pretty prints from his own designs, such as The Female Pedlar 
 (Plate CXIX.), very prominently etched, the only known copy of 
 which is in the collection of Mr. John Lane. Then, of course, 
 there is Charles Turner's important work in association with the art 
 of his illustrious namesake, J. M. W. Turner, with whom he had 
 commenced a friendship in their student days. That impressive 
 
 41 
 
plate The Shipwreck, preluded the twenty-four Liber Studiorum plates, 
 which he mezzotinted with fine sympathy over the painter's own 
 etching. But J. M. W. Turner quarrelled with him over his 
 modest request for a small increase of remuneration, and the 
 next plate published was done by William Say, who engraved 
 thirteen plates for the Liber. Say, a pupil of James Ward, was an 
 engraver of great capacity, and what richness and depth of tone he 
 could command one may see in the delightful Peasant Girl 
 (Plate CXXI.), one of the best and most appealing mezzotints 
 after Rembrandt; Spanish Peasant Boys, a fine print after Murillo ; and 
 the gracious Lady St. John-Mildmay and Child, after Hoppner. Some 
 portraits after Lawrence, Harlow and Masquerier, also show his 
 quality, but I cannot forgive Say for having been the first to 
 encourage by his own practice the introduction of steel plates. 
 Though, perhaps, the real offender may have been Thomas Goff 
 Lupton, a pupil of George Clint, the engraver of many of his own 
 excellent and interesting theatrical groups. Lupton scraped on a steel 
 plate, from Clint's painting, a portrait of Munden, the comedian, 
 ''the Munden, with the bunch of countenances, the bouquet oi 
 faces," as Lamb described him ; and the Society of Arts actually 
 awarded him a gold medal for his application of soft steel to 
 mezzotint. 
 
 Fortunately, Samuel William Reynolds had done his best work 
 before the fatal steel came near killing the delicate and beautiful art. 
 His artistic activities were many, not only engraving prolifically, 
 but painting portraits and landscapes, and teaching drawing to 
 George HL's daughters, one of whom. Princess Elizabeth, had a 
 pretty taste in pictorial design, and even essayed mezzotint. Reynolds 
 had learnt, in the workrooms of J. R. Smith and Plodges, the grand 
 pictorial manner of mezzotint, and the great traditions of the art 
 are eloquent in such dignified and beautiful prints as Georgiana, Duchess 
 of Bedjord, and Mrs. Whitbread (Plate CXXIIL), after Hoppner ; 
 and Elizabeth, Marchioness of Exeter (Plate CXXIV.), after Lawrence, 
 with its exquisite reticence and balance of tone. And if, in some of 
 S. W. Reynolds's prints, he seems to have used etching a little too 
 emphatically where pure mezzotint would have been sufficiently 
 expressive, in Hoppner's lovely Countess of Oxford and Mrs. Arbuthnot 
 (Plate CXXIL), he has fairly harmonised the two mediums. 
 Admirable in quality also are the Marchioness of Sligo, after Opie ; 
 Lady Hood and Samuel Lysons, after Lawrence ; George Dance, after 
 John Jackson ; J. R. Smith's Charles fames Fox ; Hoppner's William 
 Windham and Marquis of Thomond ; North cote's The Falconer, Vulture 
 and Snake, and Heron and Spaniel ; Wheatley's charming little idyll 
 The Smitten Clown (Plate CXXV.), almost the first of Reynolds's 
 
 42 
 
prints, and extremely rare ; Rembrandt's Mill (Plate CXXVII.) ; 
 and Morland's The Sand-Storm^ the most important of Reynolds's 
 fifteen plates after that painter. Then, among the prints of his 
 Paris period, one may name Les Enfants surprises par I'Orage, after 
 Delaroche ; and The Wreck of the Medusa, an impressive engraving 
 of Gericault's famous picture in the Louvre, Le Radeau de la Meduse. 
 In engraving his 357 charming little mezzotint plates of Sir 
 Joshua Reynolds's pictures, a typical example of which is the Mrs. 
 Merrick (Plate CXXVI.), S. W. Reynolds received important assist- 
 ance from his clever young pupil Samuel Cousins, who, in after years, 
 claimed to have engraved 84 of these plates in their entirety. Cousins 
 might have developed into a great engraver instead ot a brilliantly 
 skilful and mannered one, had there been great painters to inspire 
 and stimulate his talent. The fashionable portraiture of Sir Thomas 
 Lawrence, with all its vivacity and sensuous charm, was hardly 
 inspiring, yet Cousins certainly engraved one of Lawrence's pictures 
 in the way of the great engravers. This was his first plate, dated 
 1826, the charming Lady Ac land and Children (Plate CXXVIIL), and 
 Lawrence was so pleased with it, that he immediately commissioned 
 the Master Lambton, a fine proof of which now fetches far more than 
 the hundred pounds the painter paid Cousins for the engraving. But 
 after this, in aiming at superficial brilliancy, he seems to have strayed 
 farther and farther from the great artistic traditions of mezzotint. 
 These traditions, however, informed the work of an earlier pupil of 
 S. W. Reynolds, William Whiston Barney, particularly that striking 
 plate, Georgiana, Duchess oj Devonshire. On the other hand, the 
 original and gifted, but unfortunate David Lucas, with his spirited 
 and beautiful interpretations of Constable's glorious sky-dominated 
 landscapes, made traditions for engravers to come. Turner first, and 
 Constable later, had recognised the rich possibilities of mezzotint for 
 rendering with pictorial subtlety the transient effects of light and 
 atmosphere on landscape. These possibilities were splendidly realised 
 by Lucas ; but the public was indifferent, and he died in a work- 
 house and found a pauper's grave. Now his Constable plates are 
 valued by collectors, and welcomed in great museums. And now, 
 after a long interval of inanition, the beautiful art of mezzotint, in 
 the hands of that legitimate heir of the great engravers, Mr. Frank 
 Short and his school, promises to develop a capacity for original 
 pictorial expression unimagined by the old reproductive mezzotinters. 
 
 Malcolm C. Salaman. 
 
 43 
 
PLATE I 
 
 ENGRAVED BY PRINCE RUPERT 
 
 HEAD OF A GIRL' 
 
PLATE II 
 
 ENGRAVED BY GERARD VALCK, AFTER SIR PETER LELY 
 
 MRS. MARY DAVIS" 
 
PLATE III 
 "WILLIAM. PRINCE OF ORANGE" 
 
 ENGRAVED BV ABRAHAM BLOOTELING, AFTER SIR PETER LELY 
 
PLATE IV 
 
 ENGRAVED BY ISAAC BECKETT, AFTER WILLIAM WISSING 
 
 LADY WILLIAMS 
 
PLATE V 
 
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 ENGRAVED BY JOHN SMITH AFTER G. SCHALCKEN 
 
 GOTTFRIED SCHALCKEN 
 
PLATE VI 
 
 ENGRAVED BY JOHN SMITH, AFTER SIR GODFREY KNELLER 
 
 "MRS. ARABELLA HUNT' 
 
PLATE VII 
 
 ENGRAVED BY JOHN SIMON, AFTER GRISONI 
 
 'COLLEY GIBBERS 
 
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 ENGRAVED BY JOHN FABER, AFTER J. DAVISON 
 
 LADY CHRISTIANA MORAY OF ABERGAIRNY' 
 
PLATE X 
 
 ENGRAVED BY PETER VAN BLEECK AFTER SIR PETER LELY 
 
 MRS. ELLEN GWYNN" 
 
PLATE XI 
 
 ENGRAVED BY JAMES MCARDELL, AFTER SIR ANTHONY VANDYCK 
 
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PLATE XII 
 ELIZABETH, COMTESSE DE GRAMMONT' 
 
 ENGRAVED BY JAMES MOARDELL, AFTER SIR PETER LELY 
 
PLATE XIM 
 
 ENGRAVED BY JAMES MCARDELL, AFTER THOMAS HUDSON 
 
 MARY, DUCHESS OF ANCASTER' 
 
PLATE XIV 
 
 ENGRAVED BY JAMES MCARDELL, AFTER C. A. COYPEL 
 
 "PRIDE" 
 
PLATE XV 
 "LADY MARY COKE " 
 
 ENGRAVED BY JAMES McARDELL, AFTER ALLAN RAMSAY 
 
PLATE XVI 
 
 ENGRAVED BY RICHARD HOUSTON AFTER FRANCIS COTES 
 
 MISS KITTY GUNNING" 
 
PLATE XVII 
 
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 ENGRAVED BY RICHARD HOUSTON, AFTER REMBRANDT 
 
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PLATE XVIII 
 CAROLINE, DUCHESS OF MARLBOROUGH AND DAUGHTER 
 
 ENGRAVED BY RICHARD HOUSTON, AFTER SIR JOSHUA REYNOLDS 
 
PLATE XIX 
 
 ENGRAVED BY RICHARD HOUSTON, AFTER SIR JOSHUA REYNOLDS 
 
 MISS HARRIETT POWELL' 
 
PLATE XX 
 
 ENGRAVED BY EDWARD FISHER AFTER SIR JOSHUA REYNOLDS 
 
 'JOHN, VISCOUNT LIGONIER^ 
 
PLATE XXI 
 
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 ENGRAVED BY EDWARD FISHER, AFTER FRANCIS COTES 
 
 MRS. PAUL SANDBY" ("THE NUT-BROWN MAID") 
 
PLATE XXII 
 
 ENGRAVED BY JAMES WATSON. AFTER SIR JOSHUA REYNOLDS 
 
 " MRS. HALE, AS 'EUPHROSYNE' 
 
PLATE XXIII 
 "THE OYSTER-WOMAN" 
 
 ENGRAVED BY PHILIP DAWE, AFTER HENRY MORLAND 
 
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 ENGRAVED BY JOHN FINLAYSON, AFTER CATHERINE READ 
 
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PLATE XXVI 
 
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 ENGRAVED BY JOHN FINLAYSON, AFTER NATHANIEL HONE 
 
 MADAME ANNA ZAMPERINT 
 
PLATE XXVII 
 
 ENGRAVED BY RICHARD EARLOM, AFTER THOS. GAINSBOROUGH 
 
 'A SHEPHERD BOY IN A STORM" 
 
PLATE XXVIII 
 "A BLACKSMITH'S SHOP" 
 
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 ENGRAVED BY VALENTINE GREEN, AFTER SIR JOSHUA REYNOLDS 
 
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PLATE XXXI 
 •MARY ISABELLA. DUCHESS OF RUTLAND" 
 
 ENGRAVED BY VALENTINE GREEN, AFTER SIR JOSHUA REYNOLDS 
 
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PLATE XXXM 
 
 ENGRAVED BY VALENTINE GREEN AFTER SIR JOSHUA REYNOLDS 
 
 "LOUISE, COUNTESS OF AYLESFORD 
 
PLATE XXXIll 
 
 ENGRAVED BY VALENTINE GREEN, AFTER SIR JOSHUA REYNOLDS 
 
 JANE, COUNTESS OF HARRINGTON" 
 
PLATE XXXIV 
 "LADY JANE HALLIDAY" 
 
 ENGRAVED BY VALENTINE GREEN, AFTER SIR JOSHUA REVNOLOS 
 
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PLATE XXXVI 
 
 
 ENGRAVED BY VALENTINE GREEN, AFTER SIR JOSHUA REYNOLDS 
 
 LADY ELIZABETH COMPTON 
 
PLATE XXXVII 
 
 ENGRAVED BY VALENTINE GREEN, AFTER ANGELICA KAUFFMAN 
 
 "MRS. FORDYCE' 
 
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PLATE XXXIX 
 " LADY BAMPFYLDE" 
 
 ENGRAVED BY THOMAS WATSON, AFTER SIR JOSHUA REYNOLOa 
 
PLATE XL 
 
 ENGRAVED BY THOMAS WATSON, AFTER SIR JOSHUA REYNOLDS 
 
 "WARREN HASTINGS" 
 
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PLATE XLII 
 
 ENGRAVED BY THOMAS WATSON, AFTER JOSEPH WRIGHT OF DERBY 
 
 MISS KITTY DRESSING" 
 
PLATE XLIII 
 
 ENGRAVED BY WILLIAM DICKINSON, AFTER SIR JOSHUA REYNOLDS 
 
 DIANA, VISCOUNTESS CROSBIE" 
 
PLATE XLIV 
 
 ENGRAVED BY WILLIAM DICKINSON, AFTER GEORGE ROMNEY 
 
 "MISS BENEDETTA RAMUS' 
 
PLATE XLV 
 
 ENGRAVED BY JOHN JONES, AFTER THOS. GAINSBOROUGH 
 
 MADAME GIOVANNA BACCELLI" 
 
PLATE XLVI 
 " MRS. DAVENPORT" 
 
 ENGRAVED BY JuHN JONES, AFTER GEORGE ROMNEY 
 
PLATE XLVIl 
 
 ENGRAVED BY JOHN JONES, AFTER GEORGE ROMNEY 
 
 EDMUND BURKE' 
 
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PLATE L 
 
 ENGRAVED BY JAMES WALKER, AFTER GEORGE ROMNEY 
 
 MISS FRANCES WOODLEY" 
 
PLATE LI 
 
 
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 ENGRAVED BY JAMES WALKER, AFTER GEORGE ROMNEY 
 
 "LADY ISABELLA HAMILTON 
 
PLATE Lll 
 
 
 ENGRAVED BY JAMES WALKER, AFTER GEORGE ROMNEV 
 
 MRS. MUSTERS" 
 
PLATE Llll 
 
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 ENGRAVED BY JAMES WALKER, AFTER GEORGE ROMNEY 
 
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 "JOHN WALTER TEMPEST" 
 
PLATE LIV 
 
 ENGRAVED BY JAMES WALKER, AFTER REMBRANDT 
 
 "HANNAH TEACHING SAMUEL TO READ' 
 
PLATE LV 
 ELIZABETH. COUNTESS OF DERBY' 
 
 ENGRAVED SY JOHN DEAN, AFTER GEORGE ROMNEV 
 

 
PLATE LVI 
 
 'COLONEL BARNASTRE TARLETON" 
 
 ENGRAVED BY J. R. SMITH, AFTER SIR JOSMIJA RE^'NOlOS 
 
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PLATE LVII 
 
 "MRS. PAYNE-GALLWEY AND SON ' 
 
 ENGRAVED EY JR. SMITH, AFTER SIR JOSHUA REVNCL06 
 
PLATE LVIII 
 
 ENGRAVED BY J. R.SMITH, AFTER SIR JOSHUA REYNOLDS 
 
 "MRS. CARNAC 
 
PLATE LIX 
 
 ENGRAVED BY J. R. SMITH, AFTER GEORGE ROMNEY 
 
 'THE CLAVERING CHILDREN" 
 
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 ENGRAVED BY J. R. SMITH, AFTER GEORGE ROMNEY 
 
 "SERENA" ("MISS SNEYD") 
 
PLATE LXII 
 
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 ENGRAVED BY J. R. SMITH, AFTER GEORGE ROMNEY 
 
 " MISS CUMBERLAND' 
 
PLATE LXIII 
 " MRS. ROBINSON " 
 
 ENGRAVED SI J. R . SM ITH - AFTER GEORGE ROMNEV 
 
PLATE LXIV 
 
 " MRS. CARWARDINE AND CHILD' 
 
 ENGRAVED BY J, R, SMITH, AFTER GEORGE ROMNEY 
 
PLATE LXV 
 
 ENGRAVED BY J.R.SMITH, AFTER GEORGE ROMNEY 
 
 MRS. STABLES AND FAMILY' 
 
PLATE LXVI 
 
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 ENGRAVED BY J. R. SMITH, AFTER HENRY WALTON 
 
 'THE FRUIT-BARROW" ("THE WALTON FAMILY") 
 
PLATE LXVII 
 
 "SIR HARBORD HARBORD 
 
 ENGRAVED BY J. R. SMITH. AFTER ThO^. GAT'.StCF.Cu 
 
PLATE LXVIII 
 
 MRS. PHCEBE HOPPNER" ("SOPHIA WESTERN") 
 
 ENGRAVED BY J. R. SMITH AFTER JOHN HOPPNEH 
 
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PLATE LXX 
 
 ENGRAVED BY J. R. SMITH, AFTER REV. MATTHEW W. PETERS 
 
 LADY ELIZABETH COMPTON " 
 
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PLATE LXXII 
 
 ENGRAVED BY J. R. SMITH, AFTER A. W. DEVIS 
 
 MDLLE. PARISOT' 
 
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 DESIGNED AND ENGRAVED BY J. R. SMITH 
 
 'A LADY IN WAITING" 
 
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 PLATE LXXV 
 
 DESIGNED AND ENGRAVED BY J. R. SMITH 
 
 A MAN-TRAP' 
 
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PLATE LXXVII 
 
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 DESIGNED AND ENGRAVED BY J. R. SMITH 
 
 'A CHRISTMAS HOLIDAY' 
 
PLATE LXXVIII 
 
 PRESUMABLY DESIGNED AND ENGRAVED BY J.R.SMITH 
 
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PLATE LXXXII 
 
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 ENGRAVED BY WILLIAM WARD AFTER SIR JOSHUA REYNOLDS 
 
 "THE SNAKE IN THE GRASS" 
 
PLATE LXXXIII 
 
 ENGRAVED BY WILLIAM WARD, AFTER GEORGE MORLAND 
 
 THE KITE ENTANGLED 
 
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PLATE LXXXVII 
 
 ENGRAVED BY WILLIAM WARD, AFTER GEORGE MORLAND 
 
 "THE PLEASURES OF RETIREMENT' 
 
PLATE LXXXVIIl 
 
 ENGRAVED BY WILLIAM WARD AFTER GEORGE MORLAND 
 
 "THE PLEDGE OF LOVE" 
 
PLATE LXXXIX 
 
 ENGRAVED BY WILLIAM WARD, AFTER GEORGE MORLAND 
 
 THE COQUETTE AT HER TOILET' 
 
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 ENGRAVED BY JAMES WARD, AFTER JOHN HOPPNER 
 
 "CHILDREN BATHING" (THE CHILDREN OF JOHN HOPPNER) 
 
PLATE XCII 
 
 ii. 
 
 ENGRAVED BY JAMES WARD, AFTER JOHN OPIE 
 
 THE ANGRY FATHER' 
 
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PLATE XCV 
 
 ENGRAVED BY C. H. HODGES, AFTER SIR JOSHUA REYNOLDS 
 
 GUARDIAN ANGELS" 
 
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ENGRAVED BY JOHN YOUNG, AFTER JOHN HOPPNER 
 
 LADY LAMBTON AND FAMILY' 
 
PLATE XCVIII 
 
 ENGRAVED BY JOHN YOUNG, AFTER JOHN HOPPNER 
 
 "THE SHOW 
 
ENGRAVED BY JOHN YOUNG, AFTER GEORGE WATSON 
 
 "YOUNG LADY AT HER TOILET' 
 
PLATE C 
 
 ENGRAVED BY GAINSBOROUGH DUPONT, AFTER THOS. GAI NSBOROUGH 
 
 COLONEL ST. LEGER 
 
PLATE CI 
 "HON. MRS. WATSON" 
 
 ENGRAVED BY THOS. PARK, AFTER THOS. GAINSBOROUGH 
 
PLATE Cll 
 
 ENGRAVED BY THOS. PARK, AFTER SIR WILLIAM BEECHEY 
 
 CHILDREN AT PLAY" ("THE ODDIE CHILDREN") 
 
PLATE cm 
 
 ENGRAVED BY JOHN JACOEE, AFTER SIR JOSHUA REYNOLDS 
 
 "MISS MEYER, AS ' HEBE'" 
 
PLATE CIV 
 
 ENGRAVED BY JOHN JACOBE, AFTER SIR JOSHUA REYNOLDS 
 
 HON. MARY MONCKTON" 
 
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PLATE evil 
 
 ENGRAVED BY GEORGE KEATING, AFTER GEORGE MORLAND 
 
 THE DESERTER" (PLATE IV) 
 
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PLATE CIX 
 
 ENGRAVED BY WILLIAM HUMPHREY, AFTER GEORGE MORLAND 
 
 'TEMPTATION" 
 
PLATE CX 
 "MRS. CURTIS" 
 
 ENGRAVED BY HENRY HUDSON, AFTER HENRY WALTON 
 
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 PLATE CXIl 
 
 ENGRAVED BY JOSEPH GROZER, AFTER GEORGE MORLAND 
 
 'YOUTH DIVERTING AGE' 
 
PLATE CXIII 
 "HON. FRANCES HARRIS" 
 
 ENGRAVED BY JOSEPH GR02ER, AFTER SIR JOSHUA REYNOLDS 
 
PLATE CXIV 
 
 ENGRAVED BY CHARLES TURNER. AFTER JOHN HOPPNER 
 
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 COUNTESS OF CHOLMONDELEY AND SON' 
 
PLATE CXV 
 
 ENGRAVED BY CHARLES TURNER, AFTER JOHN HOPPNER 
 
 MISS HARRIET CHOLMONDELEY ' 
 
PLATE CXVI 
 "LADY LOUISA MANNERS IN PEASANT DRESS" 
 
 ENGRAVED BY CHARLES TURNER, AFTER JOHN HOPPNER 
 
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PLATE CXVH 
 "LORD NELSON" 
 
 ENaRAVSa 8^ CHARLES TURNER. AFTER JOHN HOPPNER 
 
PLATE CXVIII 
 
 ENGRAVED BY CHARLES TURNER, AFTER THOS. GAI NSBOROUGH 
 
 "INTERIOR OF A COTTAGE" 
 
PLATE CXIX 
 
 DESIGNED AND ENGRAVED BY CHARLES TURNER 
 
 THE FEMALE PEDLAR' 
 
PLATE CXX 
 
 ■LADY HAMILTON. AS NATURE" 
 
 ENGRAVED BY HENRY MEYER, AFTER GEORGE ROMNEV 
 
PLATE CXXI 
 ■PEASANT GIRL" 
 
 ENGRAVED BY WILLIAM SAY, AFTER REMBRANDT 
 
PLATE CXXII 
 
 ENGRAVED BY S. W. REYNOLDS, AFTER JOHN HOPPNER 
 
 MRS. ARBUTHNOT' 
 
PLATE CXXIII 
 
 ENGRAVED BY S. W. REYNOLDS, AFTER JOHN HOPPNER 
 
 MRS. WHITBREAD 
 
" PLATE CXXIV 
 
 ELIZABETH, MARCHIONESS OF EXETER" 
 
 ENGRAVED BY S. W. REYNOLDS, AFTER SIR THOS. LAWRENCE 
 
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PLATE CXXV 
 
 ENGRAVED BY S. W. REYNOLDS, AFTER FRANCIS WHEATLEY 
 
 THE SMITTEN CLOWN 
 
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 PLATE CXXVI 
 
 ENGRAVED BY S. W. REYNOLDS, AFTER SIR JOSHUA REYNOLDS 
 
 MRS. MERRICK" 
 
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PLATE CXXVIII 
 
 ENGRAVED BY SAMUEL COUSINS, AFTER SIR THOS. LAWRENCE 
 
 LADY ACLAND AND CHILDREN 
 
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