Robert Strange, who was contemporary with Hogarth, was a native of the Orkney Islands. He was an art student in Edinburgh when Prince Charlie landed, and his Jacobite sympathies led him to throw aside his work and join the young chevalier. When the remnant of the army of 1745 was flying before Duke William after the battle of Culloden, Strange, closely pursued by a number of soldiers, sought shelter in the house of the Lumsdales. Miss Lumsdale was sitting with her work by one of the windows, and at once offered to conceal the young soldier underneath the folds of her skirt. Ladies' skirts of the crinoline period were of such proportions as to render the concealment easy, and Miss Lumsdale, to lull the suspicions of the pursuing soldiers, continued her sewing, and affected considerable surprise and indignation at their intrusion. They shamefacedly withdrew upon finding the lady alone, and Strange afterwards made good his escape to France. Gratitude to his deliverer, intensified by the romantic situation which saved his life, quickly ripened into love, and, it is needless to add, a good old-fashioned love match. Strange settled in London about 1750, when, by his zeal and skilful work, he added much to the fame of historical engraving in this country. He engraved over eighty plates during his lifetime, and displayed a literary talent of no mean order. He was not a brilliant draughtsman, but the tone and texture of his engravings are almost perfect. He was knighted in 1781. There is yet one other engraver of this period whose career merits a share of attention and interest. James Gilray was born in 1757, and, like Hogarth, commenced at the bottom rung of the ladder as a letter engraver. He also became a notable caricaturist, and some idea of his skill in this branch of pictorial art may be gleaned from the fact that over 1200 designs were the product of his inventive fancy. Though not by any means indolent, his habits were dissipated, and unfortunately for him he, for many years, resided with his publisher, who gratified his passions so long as his art was sufficiently productive. Gilray's designs were not all caricatures. A number of illustrations for Goldsmith's _Deserted Village_ were designed and engraved by him. He also engraved a few of Northcote's pictures. His style was free and spirited, and he was one of the first English engravers to prove the merits of stipple engraving. The stipple manner of engraving was a curious development of the art. It appeared as though line engraving could not keep pace with the ever-growing demand for pictures, and was therefore combined with stipple to facilitate production. In capable hands very fine results were obtained with this combination.