Many of Morland’s pictures on the mezzotint plates seem to have justified the colour-printer, but innumerable Morland prints were coloured by hand entirely or in part, and it is said that J. R. Smith employed his young pupil Joseph Mallord William Turner upon this work. I doubt, however, if even Mr. Rawlinson could detect Turner’s hand upon a Morland print, therefore we must be content to distinguish the finest and rarest of the mezzotints actually printed in colours. To those already named we may add _The Angling Party_ by Keating, and _The Angler’s Repast_ by William Ward, to whom we are also indebted for _The Coquette at her Toilet_, _The Pledge of Love_ (“Contemplating the Miniature”); _Contemplation_ (“Caroline of Lichfield”), very rare, and exquisitely suggestive of the original in Mr. Thomas Barratt’s wonderful Morland collection; _Cottagers_, _Travellers_, _The Thatcher_, _First of September--Morning_, _First of September--Evening_, _Inside of a Country Ale-house_, _The Public-House Door_, _The Effects of Extravagance and Idleness_, _The Turnpike Gate_, _The Sportsman’s Return_, and _The Farmer’s Stable_, Morland’s National Gallery masterpiece; _The Return from Market_, a beautiful thing, and _Feeding the Pigs_, by J. R. Smith; _Sunset: a View in Leicestershire_, by James Ward; _Summer_ and _Winter_ by W. Barnard; _Morning, or the Benevolent Sportsman_; _Evening, or the Sportsman’s Return_, by J. Grozer, and _Selling Cherries_ and _Shelling Peas_, a very rare pair, etched and mezzotinted by E. Bell. Then there is “The Deserter” set, by Keating, _Enlisting a Recruit_, _Recruit deserted and detected hiding in his wife’s room_, _The Deserter handcuffed and conveyed to a court martial_, _The Deserter pardoned and restored to his family_; a set of pictures studied with realism resulting from one of Morland’s characteristic adventures, possible, perhaps, only in the eighteenth century. _Snipe Shooting_, one of a set of four, by G. Catton, Jun., must not be forgotten; it is of particular interest as showing aquatint in effective combination with stipple and etching. How important a place Morland fills in the history of eighteenth-century prints, one realises only when, looking over a collection like Mr. Thomas Barratt’s at Hampstead, where the colour-prints are to be seen in their multitude, one attempts to note down a few gems, and finds a long list has quickly accumulated. III.