century executed engravings on steel which entitle them to recognition among the leading exponents of their art. Following each name is a print with date of publication: Anker Smith, Sophonisba, after Titian, 1813; James Fittler, A Spanish Officer, after Rubens, 1813; and The Plague, after Poussin, 1811. Charles Heath, The Infant Hercules, after Reynolds, 1810, and Portrait of a Cavalier, after Vandyck. An illustration is given of this fine piece of steel engraving. The first state is at the completion of the etching prior to the work with the graver, as previously explained. The sash and the hilt of the sword, the outline of the lace collar and ruffles, are all indicated, and the hair, in conforming to the formula of executing all the dark masses in etching is done in elaborate detail. The print beside it is a reproduction of the same when in proof state. (Facing p. 210).
Of other leading engravers mention must be made of William Bromley, Woman taken in Adultery, after Rubens, 1813; M. J. Danforth, Uncle Toby and the Widow Wadman, after Leslie, 1833; Edward Goodall, The Market Cart, after Gainsborough, 1836; William Finden, George IV., after Lawrence, 1829, and The Village Festival, after Wilkie, 1830; Abraham Raimbach, Jupiter and Antiope, after Titian, 1807, George Thomas Doo, Gevartius, after Vandyck, 1830; and Yorick and the Grisette, after Newton, 1838; John Henry Robinson, Sir Walter Scott, after Lawrence, and Rubens, after Vandyck, 1830; William Holl, the Madonna di san Sisto, after Raphael; and Henry Le Keux, the Embarkation of St. Ursula, after Claude, 1839, and
