Mills_ after Engelheart, or his _Snake in the Grass_, after Reynolds, or those charming and familiar Morland prints _Delia in Town_ and _Delia in the Country_, _Rustic Employment_ and _Rural Amusement_, and the _Letitia_ set, of course in their original form. J. R. Smith’s was a dominating personality, and his influence on his talented pupil, William Ward, was very strong. He taught him by example, paying him the compliment of engraving in mezzotint and charmingly colour-printing his pupil’s felicitous, Morlandish picture, _The Visit to the Grandfather_. He certainly made him work, and the results show not only in the innumerable fine plates which Ward produced in mezzotint and stipple after various painters, but in his own dainty drawings of charming femininity. These, such as the well-known _Louise_, _Alinda_, _Lucy of Leinster_, _Almeida_, _The Soliloquy_, _Hesitation_, _Louisa Mildmay_, and _The Cyprian Votary_, were all translated to the copper with a verve and charm, produced by an exact understanding of the artistic economies of the stippled crayon manner, unsurpassed, perhaps not equalled, by any other engraver. When finely tinted, they show the colour-printer’s craft at its daintiest, and their collector’s taste at its highest. In the same _genre_ are _Private Amusement_ (“Reflection”) and _Public Amusement_ (“Temptation”), engraved by Ward after Ramberg--a favourite pair. But very different, of course, in character are his fine mezzotints of the rural pictures of his talented, irascible younger brother James. Of these, perhaps, the best print in colours are _The Citizen’s Retreat_, _Selling Rabbits_, _Compassionate Children_, _The Haymakers_, _Outside of a Country Ale-house_, _Summer_ and _Winter_, and the well-known _Vegetable Market_, the companion to which, _A Poultry Market_, was finely engraved by James Ward himself, whose own attractive plates of _The Rocking Horse_ and _Rustic Felicity_ and _A Cottager going to Market_ and _A Cottager returning from Market_, have also been printed in colours. William Ward’s popular fame as an engraver, however, will doubtless rest mainly on his innumerable transcripts in stipple and mezzotint of the pictures of his brother-in-law, that natural artist, that dissolute, happy-go-lucky vagabond, that homely, facile painter of genius, George Morland.