to the formula. The third plate of the series shows the plate after the graver has been used. Everything has been strengthened, lights have been heightened, and shadows have been deepened, and the rich texture of the costume introduced. The fourth plate shows the final stage, the print in proof state ready for its issue to the public. The flesh has been engraved, and the rounded form of pulsating life given to the chalky patches of the previous stage, and in every part of the plate last touches have been given to give colour and add sparkling reality to the engraving.
This print appeared in the "Keepsake" in 1834, and was entitled The Widowed Bride, and was signed by Edwards as the engraver. (Facing p. 206.)
That co-operative engraving and collaboration by engravers of prints of this class was in very extensive use is shown by a series of engravers' trial prints from similar publications in the possession of the writer. For one plate, the size of which is only 3 in. by 3-3/4 in., The Purloined Cap, after Wilkie, the private notes of the engravers working on it record that "Staines reduced it," "W. Taylor etched," "Drapery done by Hatfield," "Phillibrown did background," "Faces by Presbury and W. Finden."
Another print in the "Keepsake" for 1830 of The Prophet of St. Paul's, after Chalon, 4 in. by 3 in. in size, has a similar series of engravers working upon it. "Part by J. H. Watt," "Rhodes graved up white drapery," "D. Smith did remainder," and "C. Heath flesh."
Here is the distinct note of commercialism, the
