Naturally Bartolozzi’s European reputation, and rumours of the rapidity with which money could be made by the stipple method, attracted to his studio a number of pupils from the Continent, where, till the war began in 1793, there was a very large and constant trade in English prints. Several fine collections, by the way, were made at the time, and some of these are still intact, notably one in Weimar. Among the foreign pupils were, of course, several Italians, of whom the most important were Luigi Schiavonetti and Giovanni Vendramini, whose names are familiar chiefly through their charming plates in the _Cries of London_ series. Schiavonetti, however, was brilliant also in etching and line-work, and not less artistic than his stipples were his engravings of Blake’s beautiful illustrations to Blair’s poem, _The Grave_. Vendramini was personally so popular that he was induced to take over Bartolozzi’s business and his house at North End, Fulham, when the old man in 1802, seeing the waning of the public taste for his prints, accepted a royal invitation to Portugal, where they gave him a knighthood and a pension, and where he went on engraving and teaching till, close on ninety years of age and in straitened circumstances, he died in 1815. James Minasi, an engraver of taste, I have already mentioned as one of Bartolozzi’s favourite pupils, devoted to the end. His cousin, Mariano Bovi was another, and a very artistic touch he had, as may be seen in his many engravings of Lady Diana Beauclerc’s fantastic infantile groups, and the charming decorative frieze after Cipriani, reproduced here. Other notable Italian disciples were Pietro Bettelini and Michel Benedetti. Russia, which was always ready at that time to encourage the prolonged visits of English artists, sent Bartolozzi an assimilative pupil in Gabriel Scorodoomoff, who did several pretty colour-prints. Of the French pupils, John Peter Simon had perhaps the most artistic sense of the medium, and he will always be esteemed for his brilliant engraving of Reynolds’s _Heads of Angels_--a beautiful print in colours. Jean Marie Delattre, when once he had learnt stipple, became the master’s right-hand man, “forwarding” many of his plates to a considerable extent, touching up and correcting the work of less competent pupils, and turning out a number of good prints of his own. Other Frenchmen there were, too, among the stipple-engravers who, though not actually pupils of Bartolozzi, could not help reflecting his influence. Chief among these were Thomas Gaugain, F. D. Soiron, and B. Duterreau, all of whom are represented among our illustrations by charming prints after Morland. Gaugain began his artistic life as a student of painting with Richard Houston, the eminent mezzotint-engraver, and this training seems to have lent a valuable quality of tone to his engraving. The last and rarest plate of the _Cries of London--Turnips and Carrots_--was his.