The delay in the actual grant of the patent, and then—that granted—in the commencement of the work, not by Whitfield but by Winstanley, is noteworthy, and points to this: Whitfield, on receiving intimation that the sought-for patent would be granted, made some preliminary experiments on the Eddystone; these so far convinced him of the hazardous nature of the undertaking that he hesitated to take up the patent, but at length did so. He then made further experiments, which confirmed his estimate of the dangers and difficulties of the work, and he was, perhaps, induced to abandon it on Henry Winstanley, more venturesome and enterprising than himself, stepping in and offering to erect the building if more favourable terms were conceded. This, likely enough, is the explanation of the delays and of the second agreement between Whitfield and the Trinity House. Of an agreement between Winstanley and Whitfield I have failed to find any trace; but it is probable that one was entered into; at all events, there is the authority of a contemporary document at the Trinity House for stating that Winstanley himself finally undertook the erection of the Eddystone lighthouse, under the authority of the Trinity Board, _at his sole expense_. Let us pause for a moment in the narrative of the Eddystone’s history, and consider what is known of Henry Winstanley. He was born, probably, at Littlebury, a mile from Saffron Walden, in Essex, about the year 1646. The names of his parents are not known, but one of his brothers was Robert, the author of _Poor Robin’s Perambulations from Saffron Walden to London_. Of Henry’s early life and education we have but slender particulars. That he travelled abroad we may judge from a statement made by himself that he had _seen_ the most renowned palaces of France, Germany, and Italy; and the probability is that his tour was undertaken with a view to obtaining proficiency in art—a profession in which he was certainly successful. Both as a draftsman and an engraver he distinguished himself, and worked more with ‘an eye to the main chance’ than most persons gifted with artistic power; for he appears to have selected subjects for his labours that would attract the observation of, and appeal directly to, the wealthy. He engraved the Manor House at Wimbledon, and dedicated his work to its opulent and noble owner, Thomas Earl of Danby; he drew and engraved a vast picture of Audley End House, of which building he was, in 1694, clerk of the works, and he sent his picture, with a characteristic letter, to the Earl of Suffolk: that is the letter in which he refers to his early travels on the Continent. To mention one of his minor productions as a draftsman, there is now amongst the collection of playing cards at the British Museum, a pack designed and executed by Winstanley. [Illustration: PACK OF PLAYING CARDS DESIGNED BY WINSTANLEY.]