About this time there came to Bassano a Mr. Testolini, of Vicenza, a wretched engraver of architecture, but a man of consummate craft and address. He became acquainted with Schiavonetti at Suntach’s, and, finding in his genius and tractable disposition, a tool which he could use to great advantage, he engaged him to work at his house. Bartolozzi’s engravings in the chalk manner were then in great repute at Bassano, and Testolini made several abortive attempts to discover the process. His young friend succeeded better, and imitated several of Bartolozzi’s prints to perfection; and Testolini took some of Schiavonetti’s productions to the son of Bartolozzi at Venice, and passed them off as his own. They gained him an introduction to that artist, and an invitation to London, where he was then in full occupation, and his works highly appreciated. The change of climate seems to have deteriorated the talents of Testolini; but such was his adroitness that he gained a complete ascendancy over the easy temper of Bartolozzi, and lived in his house at North End, Fulham, about three years. During that time, finding that yet more important advantages might be derived from the aid of his former friend, he made several propositions to Schiavonetti to come to London. These were for a time declined: the rising fame of the young artist caused his talents to be better appreciated, and some Venetian noblemen offered him a pension and constant employment if he would abandon his proposed emigration. Testolini, to frustrate this, induced Bartolozzi to write a letter of persuasion, partly dictated by himself; and, confident of its effect, he set out for Italy to bring Schiavonetti over. During his absence Bartolozzi gained an insight into his real character and interested views, and, on his return with his _protégé_, told him that his house was no longer open to him, but that Schiavonetti was welcome to consider it his home. Testolini, however, having found a house in Sloane Square, soon persuaded Schiavonetti that it would be better for him to follow his fortune than to remain with Bartolozzi, to which Schiavonetti consented. This circumstance terminated the connexion between Bartolozzi and Schiavonetti; and shortly after the reputation of the latter as an engraver became established in London, where he conducted every transaction he was engaged in with an uprightness and integrity that cause his memory to be equally respected as a gentleman and as an artist. The ‘Madre Dolorosa,’ after Vandyke; the portrait of that master in the character of Paris; Michael Angelo’s cartoon of the ‘Surprise of the Soldiers on the banks of the Arno;’ a series of etchings from designs by Blake, illustrative of Blair’s ‘Grave,’ with a portrait of Blake after Phillips; the ‘Landing of the British troops in Egypt,’ from De Loutherbourg; and the etching of the ‘Canterbury Pilgrims,’ from Stothard’s admired picture, are some of the most esteemed works of Lewis Schiavonetti.