Thomas Cheesman’s engravings have at their best the free and easy charm of the artist accustomed to express his own conceptions. In his youth he lodged with Hogarth’s widow, through whose influence he was entrusted with the engraving of _The Last Stake_. The work must have been a liberal education. Stippling, strengthened with etching, he learnt from Bartolozzi, and how he excelled in it may be seen in such charming prints as Romney’s _Spinster_ and _Seamstress_, Angelica Kauffman’s _Marchioness of Townshend and Chila (Love and Beauty)_, Reynolds’s _Reverie_, his own _Maternal Affection_, and others of his graceful designs. Robert S. Marcuard was another of Bartolozzi’s best pupils, and his fine engraving of his master’s portrait, after Reynolds, has a richness of tone and distinction of character rarely seen in stipple-plates, but found also in Marcuard’s transcripts of others among Reynolds’s male portraits. He appears to have strengthened his stippling of shadows with etching to a more than usual extent, a practice suggested, perhaps, by his work in mezzotint. Several noteworthy prints by Charles Knight have already been named. He was quite a valuable engraver of remarkable industry, and so studiously did he assimilate the Bartolozzi methods, while lacking only the master’s inimitable delicacy, that he could be trusted to execute important plates which needed but Bartolozzi’s own finishing touches to make them worthy of his name. These the master would unhesitatingly sign for publication, as in the case of the famous _Miss Farren_ after Lawrence. The brilliant etching, with all the preliminary work, was Knight’s; yet it is known as Bartolozzi’s print. But to the various acknowledged prints of Knight’s already mentioned one may add, as good examples in colours, _Cupid Disarmed_, and _Cupid’s Revenge_ after Miss Benwell, and _The Valentine_ and _The Wedding Ring_ after Ansell. John Ogborne and William Nutter learnt line-engraving from that interesting engraver and valuable antiquarian, Joseph Strutt, a pupil himself of Ryland; then they went to Bartolozzi to acquire the stipple method, through which they both achieved distinction, Nutter adding to Bartolozzi’s teaching the broader influence of J. R. Smith’s. John Keyse Sherwin’s natural gifts were influenced to an easy grace in Bartolozzi’s studio, and we owe to him a few charming stipples in colour; but his brief and brilliant career, ruined by vanity, dandyism, and fashionable favour, belongs to the story of line-engraving, in which it fills a lively and interesting page. Another talented individuality among the group of Bartolozzi’s disciples was Edmund Scott, who did some very engaging stipples in colour, of which a few have been named. His work was much favoured by the popular painters.