It must have been a happy home in that dingy, sunless house in the Old Bailey, where Wynne Ryland’s early days were spent. The father, busy and prosperous, devoted to his wife, eager to encourage the talents of his boys, and observing proudly, with expert eye, the amazing genius of his third son. Yet over all there broods the sad shadow of the grim prison. Often in the night the silence is broken by the hoarse voice of the bellman chanting this refrain:-- “You prisoners that are within, Who for wickedness and sin, “After many Mercies shown you, are now appointed to Dye to Morrow in the Forenoon: Give Ear and understand that to-morrow the Greatest Bell of St Sepulchre’s shall toll for you, in Form and Manner of a Passing Bell, as used to be tolled for those that are at the Point of Death....” It is the loathly knell of the unhappy wretches within the deep black walls. And in the morning the awful boom of St Sepulchre rolls over the housetops, while a ribald, drunken mob chokes the street. Then comes the clank and clatter of sheriffs officers, and, as the procession moves from the iron portals of Newgate, there follows an open cart, driven by a gruesome creature astride a coffin, and in which, bound and quaking, lie the poor passengers to Tyburn. Such scenes are a portion of the boyhood of William Wynne Ryland, the great engraver. But, after the long years of his apprenticeship have rolled away, a brighter and more glittering life than dingy old London, or even the whole world, can show, comes to the young genius. Since his youth Paris has been whispering to him her enticing summons--Paris, the Cyprus of art, where beauty, love, and colour walk hand in hand, and where he whose fingers can fashion their charms may become mightiest of the mighty. Two friends and old school-fellows are eager to make the same pilgrimage, and the indulgent parent, whose foresight perceives whither the talents of his gifted son will lead him, gives his consent. Although he knows that if the lowering storm-clouds shall burst, a visit to France may mean exile until the close of the war, he resolves that the young man shall pursue his art in the studios of the great French masters. So, early one morning the three enthusiasts mount Christopher Shaw’s stage-coach at the sign of the ‘Golden Cross’ and resting at Canterbury over night, reach Dover in good time the next day. With a fair wind, a stout smack will touch the opposite coast in a few hours, where they must tolerate a much less speedy team and a more shaky vehicle along the road to Paris.