promises to deliver when finished on payment of one guinea more," can be seen at the British Museum, and will give some idea of the moderate remuneration artists of those days were content to receive for their valuable labour. The rise of stipple as a separate style took place in the middle of the eighteenth century, and although the coming of Bartolozzi to England gave it so great an impetus, it is necessary to point out that the works of the school which goes by his name by no means show the capabilities of the method. The aim of Bartolozzi and his followers was essentially prettiness; to this all their efforts tended, and for this stipple was a convenient medium. The very printing in red, recently so popular, is barbarous in its ineffectiveness, plates so printed being deprived of a great part of their proper ranges of light and shade. The more serious work in this method was accomplished by other engravers, of whom may be specially mentioned Thomas Gaugain, Anthony Cardon, Caroline Watson, and, later on in the present century, William Walker, who carried the style to the highest point ever reached or likely to be reached. Engraving in stipple--that is, putting dots into the plate in place of lines--was, however, no new invention; from early times line engravers had placed dots in the interstices of their crossed lines to give solidity and greater effect. Ottavio Leoni, a Roman painter, had used the method freely in a set of plates of distinguished artists, which he engraved in the years 1621-5, executing the heads, with the exception of the hair, entirely in stipple; and early in the century French engravers made use of the same means to give effect to many of their flesh textures. The crayon style of engraving introduced by Demarteau, and the feeble English manner known as chalk, which had only a limited reign, are but modifications of the style.