extinguish unquestionably those of foreign powers; and I may say, with equal truth, equal most of those of the old schools. Such a publication, however successful their present one may be, I can answer for it would be patronised by the noblemen and gentlemen of England with redoubled liberality, and in such tasks the engravers will have the opportunity of producing finer things by the more powerful, and indeed inestimable advantage of having their progressive proofs touched upon by the painters themselves. “Pull away, my hearty” (for I was again in a boat).--“To Westminster, Master?”--“Ay, to Westminster.” Being now in view of the extensive yards which for ages have been occupied by stone and marble merchants, “Ay,” said I, “if these wharfs could speak, they, no doubt, like the Fly, would boast of their noble works. Was it not from our blocks that Roubiliac carved his figures of Newton, the pride of Cambridge, and that of Eloquence, in Westminster Abbey; Bacon’s figure of Mars, now in Lord Yarborough’s possession; Rossi’s Celadon and Amelia, and Flaxman’s mighty figure of Satan, in the Earl of Egremont’s gallery at Petworth; as well as three-fourths of Nollekens’s numerous busts, which, according to whisperings, have only been equalled by Chantrey? And then, has not our Carrara been conveyed to the studios of Westmacott and Baily?[489]” [Illustration: JOHN FLAXMAN R.A. “This little man cuts us all out in sculpture.” _Bankes_] After the truly interesting information the print-collectors have received from the pen of Mr. Ottley,[490] a gentleman better qualified than any I know to speak on works of art, more particularly those of the ancient schools of Italy, it would be the highest audacity in me to offer my own observations, however conversant my friends are pleased to consider me on those subjects. All I shall therefore now add to Mr. Ottley’s valuable stock of knowledge are the following circumstances, which occurred respecting that beautiful impression in sulphur, taken from a pax, engraved by Tomaso Finiguerra, before the said impression was so liberally purchased by the Duke of Buckingham, who has most cheerfully afforded it an asylum at Stowe. It has been for many years in the Print-Room of the British Museum.[491] Mr. Stewart favoured me, at my earnest request, with the following statement of the fortunate manner in which he secured this unique and inestimable production as a treasure for England.