From his popular task of whipping with genial graphic satire the social follies and foibles of the day. Bunbury’s pencil would on occasion “lightly turn to thoughts of love,” as in _A Tale of Love_, so artistically engraved by J. K. Sherwin; and it was in this mood that his discourse on love and romance would somewhat shock Fanny Burney. She did not think it quite nice in a Court equerry, who was also a husband and a father, to dilate so rhapsodically on such topics; but he adored “The Sorrows of Werther,” which she told him she could not read; and, after all, was he not the devoted husband of Catherine Horneck, Goldsmiths “Little Comedy”? Rowlandson had not, of course, Bunbury’s culture and refinement, but with all his rollicking Rabelaisian humour, he had faultless draughtsmanship with, when he chose, a daintiness of touch and a magic grace of curve. Among his countless coloured plates, however, those that can be accepted as true colour-prints can be numbered almost on one hand. _Opera Boxes_ and the interesting and vivid _Vauxhall_, spiritedly engraved by Pollard, and capitally aquatinted by Francis Jukes, were not, as generally supposed, actually printed in colours; but _The Syrens_ and _Narcissa_, both things of voluptuous charm, are etched and stippled and veritably colour-printed in part. With very few exceptions, Rowlandson’s prints were only etched by him, then aquatinted and coloured by other hands, he supplying a tinted drawing. When the mantle of the fashionable portrait-painter had slipped naturally from the shoulders of Reynolds to those of John Hoppner, and the older beauties were not as young as they used to be, and a new set of beautiful young women had meanwhile grown up, the curious public called for the new faces. So Hoppner, already finely interpreted by the best mezzotint men, now readily allied himself with Charles Wilkin, a portrait-painter in oil and miniature of some repute, who, as a very talented and individual stipple-engraver, had won his spurs with Sir Joshua, notably in his rich engraving of the famous _Lady Cockburn and her Children_. The new venture was _A Select Series of Portraits of Ladies of Rank and Fashion_. These, charming and desirable in monochrome, are delightful, but very rare, in colour. Seven of the portraits were done by Hoppner, and show him in most gracious vein: these are Viscountesses St. Asaph and Andover, Countess of Euston, the new Duchess of Rutland, Lady Charlotte Campbell, Lady Langham, and Lady Charlotte Duncombe. The other three are from the spirited pencil of the engraver himself--Ladies Gertrude Villiers, Catherine Howard and Gertrude Fitzpatrick, who as a child had sat to Reynolds for his _Collina_. Hoppner’s Hon. Mrs. Paget as _Psyche_ is also a charming coloured stipple, engraved by Henry Meyer. The colour-printed mezzotint seems to have found exceptional favour with Hoppner, for in that medium we have the lovely _Countess of Oxford_--a choice example--and _Mrs.