About this time someone had been good enough to inform me that all black and white artists are in the habit of engraving their own work, and, religiously believing this, I duly provided myself with some engraving tools, bought some boxwood, a jeweller's eye-glass, and a sand bag, without which no engraver's table can be said to be complete. Then, setting to work to practise the difficult art, I struggled on as best I could, until one fine day a professional engraver enlightened me upon the matter. I need scarcely say he went into fits of laughter when I told him that every artist was expected to be a Bewick, and he pointed out to me that not only do artists as a rule know very little about engraving, but in addition they have often only a limited knowledge of how to draw for engravers. However, thinking I should better understand the difficulties of drawing for publishers if I first mastered the technical art of reproduction, with the assistance of the engraver aforesaid I rapidly acquired sufficient dexterity with the tools to engrave my own drawings, and this I continued to do until I left Dublin, at the age of nineteen. Since then I have never utilised one of my gravers, except to pick a lock or open a box of sardines. Nor is this to be wondered at, considering that one can make a drawing in an hour which takes a week to engrave, and that an engraver may take five guineas for his share of the work whilst an artist may get fifty. There is very little doubt, therefore, as to the reason why artists who can draw refrain from engraving their own work. [Illustration: SKETCHES IN GALWAY. _Republished by permission of the proprietors of the "Illustrated London News."_] In the studio of the engraver to whom I have above referred there hung a huge map of London, and as I used to pore over it I took many an imaginary walk down Fleet Street, many a canter in the Row, and many a voyage to Greenwich on a penny steamboat, before I bade adieu to "dear dirty Dublin" in the year 1873, and, as many have done before me, arrived in the "little village" in search of fame and wealth. Just prior to my leaving Ireland for the land of my parents I met no less an editor than Tom Taylor, who was then the presiding genius of the _Punch_ table, and he gave me every encouragement to hasten my migration. He, however, had just returned from the wilds of Connemara, and before setting my face in the direction of Holyhead he strongly advised me also to pay a visit to the trackless wastes of the Western country, for the purpose of committing to paper the lineaments of the natives indigenous to the soil. This I did a week or so before quitting the land of my birth, and the sketches I made upon that occasion formed part of my stock-in-trade when I arrived in London.