Joseph Grego says of our artist very justly: "Rowlandson's sense of feminine loveliness, of irresistible graces of face expression and attitude, was unequalled in its way; several of his female portraits have been mistaken for sketches by Gainsborough or Morland, and as such, it is possible, since the caricaturist is so little known in this branch, that many continue to pass current."[15] An engraving which came into my own hands, some years ago, of three young girls by Rowlandson, might be an exact illustration of these words, and as the above writer says, be a portrait group by Gainsborough or Hoppner--so refined and yet so masterly was the treatment. I alluded to this print with others, when speaking of Rowlandson as what might be here called a "feminist" in my study of Bartolozzi and his contemporaries, and found illustration there of this peculiarly charming type of his women in "Luxury" (typified, for this artist, by breakfast in bed), "House Breakers," "The Inn Yard on Fire" (where the ladies are making a very impromptu exit), in the lovely model of "The Artist Disturbed," and (for women of fashion) in the series (twelve prints in all) of the "Comforts of Bath." I mention there, too, that delightful print of "Lady Hamilton at Home," where poor Sir William (whom the caricaturists never neglected) is suffering from an acute attack of gout, while "the lovely Emma, in very classic garb, is watering a flower-pot, and Miss Cornelia Knight, also dressed after the antique, touches the strings of a lyre, and warbles poems of her own composition." In treating, however, of Rowlandson's women, other prints, such as "Tastes Differ," "Opera Boxes," "Harmony," "A Nap in Town," and "In the Country," "Interruption, or Inconvenience of a Lodging House" (published April 1789), and "Damp Sheets" (August 1791), have a strong claim on our notice. Nor must I entirely neglect here Rowlandson's print called "Preparation for the Academy, or Old Joseph Nollekens and his Venus" (1800). It is perhaps the Miss Coleman here upon the model-stand who nearly caused a domestic breach between old Nollekens and his jealous spouse--the group on which he is at work being his "Venus Chiding Cupid," which was modelled for Lord Yarborough. _The Life of the Sculptor Nollekens_, by his pupil John Thomas Smith, contains some amusing contemporary gossip. He describes the sculptor much as we see him in this plate--his figure short, his head big, his shoulders narrow, his body too large. His worthy better half held strong opinions upon the sculptor's models--"abandoned hussies, with whom she had no patience"; and Miss Coleman having ventured to visit the scene of her early labours in a carriage and pair, the wrath of the virtuous Mrs. Nollekens became unbounded. Words indeed (perhaps a rare defect with the good lady) seem to have failed her at this crisis; in a later interview with Joseph they were not wanting.