John Condé was an ideal engraver of Cosway’s miniatures, which he rendered with a touch of the utmost refinement and taste, and an exquisite sense of their adaptabilities to the copper. Scarcely less successful in this field was Schiavonetti’s gifted Flemish pupil, Anthony Cardon, and it was doubtless through his master’s influence that he, too, was engaged upon the _Cries of London_. But the Bartolozzi influence was not quite supreme. No engraver, for instance, used the stipple method with more originality or more truly pictorial effect than John Jones, who was, of course, one of the glories of the great English school of mezzotint. At his best only to be compared for beauty with Burke, his was a broader conception of the delicate medium; and, gauging its artistic capacity to a nicety, he understood exactly how to balance breadth and depth of tone with the fine shades, while avoiding that tendency to monotony of smoothness which characterised even the best of the Bartolozzi school. His manner was quite his own, strong in its refined simplicity, artistic in its reticence, and among the most beautiful and individual colour-prints in stipple, few are comparable with those that Jones did after Romney, Reynolds and Downman. His exquisite _Serena_ was one of the prints we had hoped to have included among our illustrations. Scarcely less distinctive in stipple than Jones, J. R. Smith and William Ward, was that other great artist in mezzotint, Thomas Watson, whose stippling had the large pictorial feeling. Naturally he was happy with Reynolds, as in the lovely _Una_, while in the _Mrs. Crewe_ and _Mrs. Wilbraham_, he made the very best of Daniel Gardner, who appears to have learnt all he could from Sir Joshua.