A score of equally generous anecdotes might be told of Murray. In one particular, however, there was, as publishers, a decided difference between the views of Johnson and Murray. Those of Johnson are at present in the ascendancy; but they may produce a revolution in favour of the opinion of John Murray against cheap literature. Johnson was the opponent of typographical luxury. Murray, on the contrary, supported the aristocracy of the press, until obliged, “by the pressure from without,” in some degree to compromise his views by the publication of the ‘Family Library.’ In the wing (comparatively speaking a modern addition) attached to this house, and in the room where Mr. Johnson died, is a remarkable chimney-piece, of a monumental character; but I can learn nothing respecting it. The history of Dungannon House when Acacia Cottage, could we procure a correct record of all the ideas which [Picture: Chimney-piece] have passed through the human mind within its walls, respecting literature and art, would form a chronicle of singular interest. The late Mr. Hullmandel, well known as one of the most experienced and successful practitioners of lithography in England, resided here in 1839 and 1840, when he discovered a new process in his favourite art, by simple mental reasoning, upon the application of the process of copperplate aquatint to lithographic purposes. For this discovery—and it is one of considerable importance—he subsequently took out a patent, under the name of lithotint. Ever since the infancy of lithography, hundreds of persons connected with the art, beginning with its inventor himself, Senefelder, had endeavoured to produce impressions from stone of subjects executed with the brush, in the same manner as drawings are made with sepia, or Indian ink. And it was natural enough that artists should have made every effort to supersede the tedious and elaborate process by which alone a liquid could be rendered available for the purpose of drawing on stone. The mode of drawing technically called “the ink style,” consists merely of a series of lines, some finer, some thicker, executed on the white surface of the stone, with ink dissolved in water, by means of a fine sable or a steel pen, in imitation of an etching on copper. All attempts, however, at producing variety of tints, by using the ink thicker or thinner, failed,—the fainter lines either disappearing altogether, or printing as dark as thick ones. In every attempt made to use this ink as a wash, the result was still more disastrous, producing only one dirty mass of indistinctness, amid which the original drawing was scarcely to be traced. For twenty years did Mr. Hullmandel labour to attain some mode of printing drawings, made by a series of washes, with a brush, on stone, feeling this to be the great desideratum in the art. Lithographers in Germany, in France, and in this country, had pronounced it to be “utterly impossible;” when the idea suddenly flashed upon him,