youthful Turner was seeing atmosphere and feeling his graphic way to immortality, and young Charles Lamb was walking about, “lending his heart with usury” to all the humanity he saw in those very streets which these Wheatley prints keep so fragrant. Of the numberless other colour-prints after Wheatley perhaps the most valued to-day are, in mezzotint, _The Disaster_, _The Soldier’s Return_ and _The Sailor’s Return_, by William Ward, _The Smitten Clown_, by S. W. Reynolds; in stipple, the _Summer_ and _Winter_ of the Bartolozzi “Season” set, of which Westall did the _Spring_ and _Autumn_; _The Cottage Door_ and _The School Door_, by Keating; _Setting out to the Fair_ and _The Fairings_, by J. Eginton, and the pretty _Little Turkey Cock_ by Delattre, all admirable examples of the kind of art that made Wheatley’s reputation. The pleasant uninspired rusticities and sentimentalities of Henry Singleton were to popular as to engage the abilities of some of the leading engravers, who must certainly have made the best of them for the colour-printer, since Singleton’s colouring was accounted poor even in his own day. Among the most taking examples we have Nutter’s pretty pair _The Farmyard_ and _The Ale-house Door_, Burke’s _Vicar of the Parish_, Eginton’s _Ballad-Singer_, Knight’s _British Plenty_ and _Scarcity in India_, some children subjects by Meadows and Benedetti, and E. Scott’s _Lingo and Cowslip_, which shows that genuinely comic actor, John Edwin, and that audaciously eccentric and adventurous actress, Mrs. Wells, in O’Keefe’s notorious Haymarket farce, “The Agreeable Surprise,” a group which Downman also pictured, though with infinitely more spirit and character. Subjects dealing with childhood were still greatly in demand, but the public now wanted the children to be more grown-up, and more mundane than the cupids and cherubim of Cipriani, or the Baby Loves and Bacchanals of Lady Diana Beauclerc, so admired by Horace Walpole, and so much flattered by the engravings of Bartolozzi, Tomkins and Bovi. The prolific Richard Westall was not behind his brother Academicians in adapting his inspiration to the market, so, combining rural fancy, as required, with the sentiment of child-life, he made many a parlour look homelier with his pleasant, plausible picturings. When the charm of the engraving glossed over the weaknesses, and colour-printing added its enticing advocacy under Westall’s personal direction, we can find some justification for their popularity in such prints as Nutter’s _The Rosebud_, _The Sensitive Plant_, and _Cupid Sleeping_; Josi’s _Innocent Mischief_, _Innocent Revenge_, and Schiavonetti’s _The Ghost_, a pretty but unequal companion to _The Mask_ of Reynolds.