Most of the engravers were now wooing the facile and profitable popularity of the stipple method and the colour-print and all the favourite painters of the day, from the President of the Royal Academy to the lady amateur, were taking advantage of the fashion. The constancy and infinitude of the demand were so alluring, and the popular taste, never artistically very exacting, had been flattered and coaxed into a mood which seemed very easy to please. It asked only for the pretty thing. Sir Joshua Reynolds, seeing, doubtless, what delicious and popular things Bartolozzi had made of Cipriani’s Cupids and Graces, was readily induced to lend himself, in the lighter phases of his art, to the copper-plates of the stipple-engravers, pleasantly assisted by the colour-printer. Still leaving the more dignified and pictorially elaborate examples of his brush, the beautiful, elegant, full-length portraits of lovely and distinguished women and notable men, to the gracious interpretation of mezzotint, which had served him so nobly and faithfully, he found that, in the hands of such artists on copper as Bartolozzi, John Jones, Caroline Watson, Wilkin, Cheesman, Dickinson, Nutter, Schiavonetti, Marcuard, Thomas Watson, John Peter Simon, Grozer, Collyer, J. R. Smith, the delicate art of stipple could express all the sweetness, tenderness, and grace he intended in the pictures he enjoyed to paint of children and of girlish beauty. So we have such delightful prints, both in monochrome and in colour, as the _Hon. Anne Bingham_ and _Lavinia, Countess Spencer_, _Lady Betty Foster_, _The Countess of Harrington and Children_, _Lady Smyth and her Children_, _Lord Burghersh_, _Hon. Leicester Stanhope_, _Simplicity_ (Miss Gwatkin), _The Peniston Lamb Children_, all of Bartolozzi’s best; _Lady Cockburn and her Children_, and _Master Henry Hoare_, the _Hon. Mrs. Stanhope_ as _“Contemplation,”_ _Lady Beauchamp_ (afterwards Countess of Hertford), _A Bacchante_ (Mrs. Hartley, the actress, and her child), the Spencer children in _The Mask_, and _The Fortune Tellers_, Miss Elizabeth Beauclerc (Lady Diana’s daughter and Topham Beauclerc’s) as “_Una_,” _Muscipula_, _Robinetta_, _Felina_, _Collina_, _The Sleeping Girl_, _Infancy_, _Lady Catherine Manners_, _The Reverie_, _Lord Grantham and his Brothers_, _Mrs. Sheridan as “St. Cecilia,”_ _Maternal Affection_ (Lady Melbourne and child), _Perdita_ (Mrs. Robinson), _Mrs. Abington as “Roxalana,”_ _The Age of Innocence_, _The Infant Academy_, _The Snake in the Grass_--but the list is endless. All collectors of colour-prints know how desirable these Reynolds’ stipples are to charm their walls withal, but almost unique must be the collector who can also hang among them Keating’s joyous mezzotint of Reynolds’s famous portrait of the Duchess of Devonshire and her baby daughter, printed in colours. This is one of those rare examples which, with J. R. Smith’s _Bacchante_ and _Nature_ (Lady