The introduction of these lovers to each other occurred, we believe, through the employment of John Landseer by Macklin to execute plates for his “Bible.” In these works, several of the best engravers of that time were associated with him; among them Bromley, Heath, and Skelton. Not long after this, that is, in 1792, we find John Landseer exhibiting at the Royal Academy, the only year, we believe, ere he became an Associate of that body, in which he vouchsafed to do so. His contribution was “View from the Hermit’s Hole, Isle of Wight” (No. 541), and his address was given at 83, Queen Anne Street East.[7] A few years later he was occupied in the production of plates from drawings by Turner and Ibbetson, styled “Views in the Isle of Wight,” a series which came to an early end. John Landseer’s share of this work was confined to “Orchard Bay,” “Shanklin Bay,” and “Freshwater Bay.” He engraved “High Torr,” after Turner, for Whitaker’s “History of Richmondshire,” a very fine specimen of his skill; this book was published by Longmans in 1823; and, for “The Picturesque Tour in Italy,” he executed “The Cascade of Terni,” which is one of Turner’s best pictures. These were, we believe, all Landseer’s transcripts from the works of the great master of English landscape art. His largest series of plates was styled “Twenty Views of the South of Scotland,” and made after drawings by James Moore: another group of engravings was executed from drawings of animals by the Dutch masters, Rubens, Snyders, Rembrandt, and others; these plates show not only his remarkable skill, but the current of his mind towards animal subjects, such as his sons, Thomas and Edwin Henry, have pre-eminently illustrated. In addition to the above we have “A Series of Engravings illustrating those important events recorded in the Sacred Scriptures,” “which have been selected from Raphael, &c., with critical notices,” 1833; and six plates to “Vates, or the Philosophy of Madness,” 1840.