Of the stipple-engravers who made pretty and attractive colour-prints their name is legion, while these pages are necessarily limited. So I must regretfully leave but barely named such notable stipplers as Joseph Collyer, with his vigorous touch; Francis Hayward, whose _Mrs. Siddons as the “Tragic Muse”_ is so well known; William Bond; the versatile Robert Pollard; R. M. Meadows; the dainty John S. Agar; those three fine mezzotinters, Charles Turner, Richard Earlom, and William Dickinson, whose _Duchess of Devonshire and Viscountess Duncannon_ has often the high distinction of pairing with Burke’s _Lady Rushout and Daughter_; the brothers Facius; Caroline Watson, with her exquisite finish whether in pure stipple or in “mixed” methods; Joseph Grozer; Christian Josi, to whom we are indebted for more than his engraving, in his valuable publication of Ploos Van Amstel’s interesting second pioneering series of aquatints printed in colour, _Collection d’Imitations des Dessins_, twenty-three years after Van Amstel’s death; John Eginton; Charles White, a favourite engraver of the lady artists; James Hogg, whose _Handmaid_ after Walton is as charming as its companion, _The Tobacco Box_; Robert Thew; R. M. Paye; and William Blake, whose sure immortality is quite independent of such artistic stippling as his _Mrs. Q._ after Huet Villiers, and his two Morland prints. The war with France, closing important markets for English engravings, had a depressing influence on the production of prints, and the early years of the nineteenth century saw fresh vagaries in the popular taste. Even the Morlands were neglected. The coarse political and social caricatures of James Gillray--once Bartolozzi’s pupil--and of Thomas Rowlandson were intriguing and titillating the town with their robustious humours and audacious licence. Yet Adam Buck was strangely in favour; his inadequate drawings of babies and slender women in Empire gowns, which a contemporary writer describes as “happily combining the taste of the antique with that of the modern,” suited the spurious classic fashion of the time. These were engraved, some partly stippled, partly aquatinted, by Freeman, J. C. Stadler, Roberts and even Cheesman. Artistically negligible, the excellence of their colour-printing alone can excuse any demand at the present day for such pretty-pretty trifles as _The Darling Asleep_, _The Darling Awake_, _The Darling Dancing_, and so on. In their own day, notwithstanding their passing vogue, they sounded the knell of the stippled colour-print.