AMOS DOOLITTLE, who was born in 1754, was one of the first engravers of historical scenes in America. In Barber’s “History and Antiquities of New Haven,” published in 1831, is an advertisement of “four different views of the Battle of Lexington, Concord, etc. on the 19 April 1775.” A list of the plates follows, and it is remarked that they were “neatly engraved on copper from original paintings taken on the spot.” In a note which follows, it is further remarked that the pictures were first drawn by Mr. Earl, who was a portrait painter, and who with Mr. Doolittle was a member of the Governor’s Guard which went to Cambridge and the scene of action under the command of Arnold. [Illustration: George Goodwin] [Illustration: Social Library. Stepney Society Wethersfield] As a maker of book-plates, Doolittle was fond of the allegorical style. He made two plates for the _Societies of Yale College_, and one for the village library of _Wethersfield_. The latter is an ornamental label only, but the former are quite elaborate examples of the allegorical. The plates of _Benjamin S. Brooks_, in the Ribbon and Wreath style, and _Charles H. Wetmore_, which is a copy of one of Maverick’s favorite designs, complete the number of his signed examples. The _Guilford Library_ and _George Goodwin_ plates, which have some features in common with the _Wethersfield Library_, are confidently attributed to him. Benjamin S. Brooks Ribbon and Wreath. Brothers in Unity Allegorical. Linonian Library Allegorical. Social Library, Wethersfield Literary. Charles H. Wetmore Ribbon and Wreath. * * * * * GIDEON FAIRMAN, whose signature is on one of the plates of _Henry McMurtrie_ and one of the _Linonian Society of Yale College_, was born in Connecticut in 1774. He showed an early fondness for engraving, and made rude attempts which showed undoubted talent. In 1810, having made himself a master of his art, he went into partnership with Murray, Draper, and others, in Philadelphia. He made considerable money, and went over to England with Jacob Perkins, where, with Charles Heath for a third partner, they were successful but for a short time, the extravagance of Murray proving their ruin. * * * * * JOHN MASON FURNASS was the nephew of Hurd, to whom the latter left his engraving tools by will, as the young man showed so much ability in the art practised by his widely known uncle. He was also a painter of portraits, and he had a studio in Boston, which was also used by Trumbull. The only plate signed by this engraver, which the present writer has seen, is the _Eli Forbes_. This plate shows but few traces of the influence of Hurd. It is a Chippendale design, but [Illustration: Eli Forbes.]