Frequently a smile will steal over Wynne Ryland’s grave, nervous lips, as a small boy with a big head and a long, Punch-like body scampers down the lane, whirling his crooked legs, and he will hail the truant with the cry: “What, little Joey, have you been tolling for a funeral?” But the breathless lad, who has wasted too much time in his favourite game of assisting his friend the sexton at St James’s Church, scuttles back to his casts and models. Perhaps, one day, this little Joey Nollekens, who in good time produces many a beautiful bust and statue, will be allowed to take his friend into the studio of the great good-natured Roubiliac. “Hush, hush!” we can hear the volatile master cry, as he drags his young admirer before the figure which his deft chisel has caressed for a last time; “look, he vil speak in a minute!” And as the youth gazes upon the noble work, his quick Welsh blood, warmed by the infection of genius, glows with like ambition to do and dare. Soon, also, he becomes a pupil of the sculptor in St Peter’s Court, from whom, whatever else he learns, he must acquire a boundless self-confidence. Shortly after the death of his godfather, young Wynne Ryland, now about seventeen years old, is bound apprentice to engraver Ravenet, who came over from France to help Hogarth with his plates, and who has set up a school south of the river in Lambeth Marsh. As the crows flies, it is a short journey from the Old Bailey, but one must turn up Ludgate Hill, wind round Black Friars through Water Lane, holding one’s nose if the wind comes north-west down the grimy Fleet, and from the steps take wherry to the Surrey side. Across the Thames, the wide, deep ditches, bordered by their fringes of willows, have changed the moss into a fertile plain. Old Ryland is careful to conciliate the French artist now and then by a judicious commission, which takes the form of woolly book-plates after Sam Wale--classic pictures according to Queen Anne traditions, filled with urns and hose-pipe torches, wooden scrolls of parchment, and busts on pillar-boxes, gentlemen in cotton dressing-gowns, with stony beards, and demure ladies in flowing nightshirts. We meet these curious plates in a rare copy of the Book of Common Prayer, with the sign of Edward Ryland of the Old Bailey, and similar ones in Sir John Hawkins’ interpretation of Old Isaac. Young Wynne takes his part in the work, and though Master François gives him the lead, aided by fellow-countrymen Canot and Scotin, while the senior prentices, Grignion and Walker, also ply their gravers, a glance at ‘Luke the Physician,’ or ‘St Matthew at the Receipt of Custom’ will show that the youthful Welshman already is the equal of the best of them. Thus for five years he works under Ravenet.