Not a little surprised would Strange be if also he could hear how the modern collector values the work of Bartolozzi’s most distinguished pupils in that same art which he in his day regarded so contemptuously. Of these, Peltro William Tomkins was Bartolozzi’s own favourite. “He is my son in the art,” said the master, always generous with praise of good work; “he can do all I can in this way, and I hope he will do more.” Tomkins inherited the graphic tendency from his father, William Tomkins, A.R.A., a landscape painter; but, of course, it was from Bartolozzi he learnt the sweetness and grace of draughtsmanship which distinguish his copper-plates, whether in the engraving of his own pretty fanciful designs of children, such as _He Sleeps_, _Innocent Play_, _The Wanton Trick_, or the pictures of other artists. His close-grained stippling, too, had that same soft and tender rotundity of tone we find in the authentic works of the master, and of course it was peculiarly adaptable to the simple tints of the eighteenth-century colour-printer. A few of Tomkins’s most attractive prints will be found among the illustrations to this volume, others I have named in speaking of the painters. The extent of his work was enormous, and it always had charm; so the collector can choose many appealing things without exhausting the list of Tomkins’s capital prints. Engraver to the Queen and drawing-master to the Princesses, he seems to have been a favourite with the lady artists and amateurs, whose drawings frequently employed his graver, such as Julia Conyers, Princess Elizabeth, Lady Templetown, Lady Edward Bentinck, Miss Drax, and, of course, they all demanded colour as a sort of prescriptive right. Among his more serious work were some good plates after the old masters, as those in Tresham’s “British Gallery of Pictures,” rather brilliant in colour. _On a Virgin and Child and St. John_, after Raphael, engraved and published by Tomkins at Fulham in 1789, I find “Printed in colour by C. Floquet,” which suggests an amicable understanding between engraver and printer; for the colourist was rarely credited with his share in the old colour-prints.