The genius of Sir Joshua Reynolds is of a totally different order. In the sense of consisting in the sentiment of effect and the masterly arrangement of tones it is essentially _picturesque_, and presents such a boldness of character as engravers could easily appreciate and reproduce. There is no far-fetched significance, no accessories tending to destroy the unity of the whole. On the contrary, the work proceeds by synthesis; it is all largely schemed, and built up in masses where the details are scarcely indicated. The expression lies not so much in niceties of physiognomy as in the whole attitude of the sitters and the characteristic pose and contour of the faces represented. The painter's imagination is brilliant rather than delicate; sometimes, indeed, it degenerates into bad taste and eccentricity. But far more frequently it gives his attitudes an air of ease and originality, and the general aspect of his portraits breathes a perfect dignity. The vigorous contrasts, the freedom and wealth of colour which are their primary characteristics, as they are those of Gainsborough's work likewise, are qualities to whose translation the free and flowing stroke of the graver is hardly fitted, but which mezzotint would naturally render with ease and success. And, as we have said before, it is to the influence of the famous painter that must be attributed the immense extension of the latter process in England during the latter part of the eighteenth century. The landscape and mezzotint engravers began, therefore, to vitalise the English school: the former especially lent it real importance by their talent. From 1760 or thereabouts Woollett published, after Richard Wilson or after Claude, those admirable works which, on account of their suave harmony of effect, their transparency of atmosphere, and their variableness of colour, are less like engravings than pictures.[45] Shortly afterwards he completed his fame by work of another sort: the reproduction, first, of West's "Death of Wolfe," and then of his "Battle of La Hogue," the American's best picture, and the finest historical plate ever engraved in England. Lastly about the same time, Robert Strange, a pupil of Philippe Le Bas, engraved in line, after Correggio and Van Dyck, the "Saint Jerome" and the "Charles I.;" as well as other prints after these masters, which are quite as charming, and should, indeed, be unreservedly admired if the correctness of their drawing were only equal to their elegance of modelling and flexibility of tone. [Illustration: FIG. 93.--WOOLLETT. Landscape. After G. Smith.]