Even when such success rewarded the efforts of Edouart, he is still in apologetic mood with regard to his art, and declares that if his work had not been good the French Royal Family would not have encouraged it. “They had seen a great quantity of those common (machine-made) black shades in Paris, and had also a great dislike to them, which was soon removed when they saw the nature of mine.” He is never able to refrain from a sneer at the other silhouettists. In December, 1831, the _Glasgow Free Press_ declares that “Monsieur E.’s rooms need only to be known to become a fashionable resort for lovers of the fine arts.” The hair models seem to have formed part of the exhibition. In October, 1832, Edouart is still in Glasgow, and his likenesses now number 45,000, including the Orphan Asylum and all its managers, the directors of the Commercial Bank, and several others. In London he took 800 members of the Stock Exchange, of which he sold several books. [Illustration: PORTRAIT OF LORD MANSFIELD Painted on glass by A. Forberger, Paris] Edouart seems to have moved on to Dublin in 1833, but we doubt if he was pleased when the _Dublin Evening Mail_ of July 24th describes him as “the most _comical_ and at the same time the cleverest artist from Paris. His art gives the scissors all the expressive powers of the pencil, and extracts from a single tint of black the miraculous effects of a whole rainbow of colours.” Edouart is by now cutting out genre pictures, and subjects from “Æsop’s Fables” are mentioned, while the portraits increase rapidly in number, 6,000 being taken in Dublin alone. The Archbishop of Dublin and a great number of clergy and the officers of the garrison head the list. In his exhibition he shows, amongst thousands of others, His Royal Highness the late Duke of York, the Duke of Gloucester, and the Duke of Wellington; the Bishops of Norwich, Bangor, St. Davids, and Bristol; Doctors Chalmers and Gordon; Edward Irving, Charles Simeon, Rowland Hill, Joseph Wolfe, Jabez Bunting, Sir Walter Scott, Mrs. Hannah More, Mrs. Opie (herself a silhouettist), Kean, Liston, Power, Sir Astley Cooper, Baron Rothschild, etc. In August, 1834, Edouart went to Cork. Later he visited Kinsale, Fermoy, Mallow, Limerick, and many other places. Paganini’s portrait was taken at Edinburgh in October, 1832, where Edouart went, travelling from Glasgow on purpose to obtain it. Signor Paganini declared it was the first likeness of himself which was not caricatured. This full-length portrait shows the maestro standing, violin in hand, just ready to begin. In the background are lithograph portraits of the members of an orchestra: they are seated in a domed music-room.