days of the beaux at the Pump Room at Bath or down the Pantiles at Tunbridge Wells. The Battersea enamel snuff-box tapped in graceful minuet-like movement, the swinging gold-headed and jewelled cane, the painted fan, are the fripperies which bear accompaniment to the slender gracefulness of a fashionable art. Later, when stipple became more popular, and threw its gauze-like mantle over the fashionable album of the boudoir, we hear the tinkle of the old tunes of Thomas Haynes Bayly, "I'd be a butterfly born in a bower," which our great-great-aunts sang in that far-off time—days of lavender perfume, of maidenly reserve, of quaint, queer sentiment—the generation who wept over Dickens.
The following list of notable stipple engravings will enable the student to refer to the finest examples of this style of engraving, and to recognise them when he comes across them:—
Louisa (Sheridan's "Duenna"), stipple in red, by Richard Read
after J. Russell (1778).
Calais, The Snuff-Box, Sterne's "Sentimental Journey," by J. M. Delattre, stipple in red, after Angelica Kaufmann (1781).
Lady Elizabeth Lambart, by John K. Baldrey, after J. Downman (1783).
Mrs. Jordan as "The Romp," by John Ogbourne, after Romney (1788).
Portrait of Kemble, by James Heath, after G. Chinnery (1799).
Lady Hamilton as "Sensibility," by Richard Earlom, after Romney (1789).
Lord Heathfield, by Richard Earlom, after Sir Joshua Reynolds (1788).
Honourable Anne Bingham, by Bartolozzi, after Sir Joshua Reynolds, in red.
Lady Elizabeth Foster, by Bartolozzi, after Sir Joshua Reynolds (1787).
Lady Smyth and Children, by Bartolozzi, after Sir Joshua Reynolds.
