Hamilton), Henry Meyer’s _Nature_ too, some of the Morland prints by the Wards, Smith, and Keating; S. W. Reynolds’s _Countess of Oxford_, J. R. Smith’s _Mrs. Bouverie_, and a few other important Hoppner prints, C. Turner’s _Penn Family_, after Reynolds, Smith’s _Synnot Children_, after Wright of Derby, and _Mrs. Robinson_, after Romney, prove that, in the hands of an engraver with a painter’s eye, mezzotint could respond to the coloured inks as harmoniously and charmingly as stipple. Gainsborough--at least, the Gainsborough of unapproachable mastery and inimitable beauty, the greatest glory of our eighteenth century art--seems to have been beyond the colour-printer’s ambition. With the exception of the _Hobbinol and Ganderetta_ (Tomkins), reproduced here, and the _Lavinia_ (Bartolozzi), both of which were painted for Macklin’s “British Poets,” I doubt if anything important of Gainsborough’s was reproduced in coloured stipple, and, of course, these things cannot be said adequately to represent the master; while, as to mezzotint, W. Whiston Barney’s version of Gainsborough’s _Duchess of Devonshire_ was, I understand, printed in colours, though impressions are extremely rare. Romney’s exquisite art, on the other hand, with its gracious simplicity of beauty, lent itself more readily to the colour-printed copper-plate. Among the numberless tinted engravings with which the small-paned windows of the eighteenth-century print-shops were crowded, none ingratiated themselves more with the connoisseurs than the Romneys. So, in any representative collections of colour-prints to-day, among the finest and most greatly prized examples must be the lovely _Emma_ and _Serena_ (Miss Sneyd) of John Jones, Mrs. Jordan as “_The Romp_” of Ogborne, Miss Lucy Vernon as “_The Seamstress_,” and Lady Hamilton as “_The Spinster_” of Cheesman, the beautiful Emma also as a “_Bacchante_” by Knight, as “_Sensibility_” by Earlom, and as “_Nature_” in the two mezzotint versions, just mentioned, by J. R. Smith and Henry Meyer.