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AQUATINT 
ENGR/WING 


THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

LOS  ANGELES 


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in  2007  with  funding  from 

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http://www.archive.org/details/aquatintengravinOOpridiala 


AQUATINT  ENGRAVING 


)UATINT    ENGRAVING 

X   CHAPTER   IN   THE    HISTORY 
OF   BOOK   ILLUSTRATION    BY 

S.  T.  PRIDEAUX 


O&TRATED   BT    AN    ORIGINAL    AQUATINT,    TWO    COLLOTYPE    PLATES 
AND    NUMEROUS    HALF-TONE    PLATES 


VI 


S'*^T'*^P 


[.iuo-a:^c; 


LONDON 

DUCKWORTH    &    GO. 
RIETTA  STREET,  COVENT  GARDEN,  W.C 


SKA-GUI, LS  AT  SOUTHAMPTON 

See  Pag''  5 


AQUATINT    ENGRAVING 

A    CHAPTER    IN    THE    HISTORY 
OF  BOOK  ILLUSTRATION   BY 

S.  T.  PRIDEAUX 


ILLUSTRATED   BY    AN   ORIGINAL    AQUATINT,    TWO   COLLOTYPE    PLATES 
AND    NUMEROUS    HALF-TONE    PLATES 


LONDON 

DUCKWORTH    &    CO. 
3  HENRIETTA  STREET.  COVENT  GARDEN,  W.C. 


First  Published,  Dtcember  iqoq 


Art 

Library 


TO  MY  FATHER 


930886 


AUTHOR'S   PREFACE 

I  TAKE  this  Opportunity  of  cordially  acknowledging  the 
help  given  me  by  Mrs  Esdaile  in  connection  with  the 
book  and  its  revision,  and  by  Miss  Maude  Nathan  in 
putting  together  the  book-list. 

My  thanks  are  also  due  to  Mr  Frank  Short  for 
reading  the  technical  chapter;  to  Mr  A.  M.  Hind  and 
Mr  Alfred  Whitman  for  their  assistance  in  exploring 
the  resources  of  the  Print  Room  at  the  British  Museum  ; 
and  to  Mr  Martin  Hardie,  of  the  National  Art  Library,^ 
who  has  encouraged  me  to  work  in  detail  over  the 
ground  he  had  already  broken,  and  advised  me  in  the 
selection  of  the  illustrations. 

Lastly,  I  am  much  indebted  to  Mr  Francis  Edwards 
and  his  extensive  knowledge  of  illustrated  books,  which 
has  been  constantly  at  my  service.  Both  he  and  Messrs 
Rimell  have  always  given  me  every  facility  for  examin- 
ing their  books,  and  so  obtaining  a  first-hand  acquaintance 
with  the  majority  of  those  included  in  the  list. 

An  aquatint  is  produced  entirely  by  means  of  biting 
with  acid,  and  is  therefore,  in  the  strict  sense  of  the  word, 
'  etched ' — a  tone  etching  as  distinct  from  a  line  etching. 
On  this  account  it  has  been  suggested  to  me  that  in  using 

^  I   understand  that  this  title   no  longer  exists,  and  that  the  correct 
description  is  the  Art  Library  of  the  Victoria  and  Albert  Museum. 

vii 


viii  HISTORY  OF  AQUATINT 

the  term  aquatint  engraving  I  am  helping  to  establish  a 
conventional  misnomer,  and  that  aquatint  etching  would 
be  more  correct.  Engraving,  however,  has  become  a 
generic  term,  largely  perhaps  from  its  use  as  a  con- 
venient means  of  expressing  any  work  done  by  means 
of  wood  blocks  or  copper  plates  as  distinct  from  painting, 
and  is  therefore  wide  and  comprehensive,  if  sometimes 
loose  in  its  application.  Etching,  on  the  other  hand, 
suggests  to  the  lay  mind  something  specific,  i.e.  work 
done  in  line  with  the  etching  needle  and  bitten  into  the 
plate  with  acid.  And  though  an  aquatint  is  strictly  a 
tone  etching,  'aquatint  engraving'  and  'aquatint  en- 
graver' are  terms  that  have  long  been  in  common 
use,  and  I  have  not  felt  bold  enough  to  eliminate 
an  inaccuracy  so  traditional.  To  break  with  a  long- 
established  convention  seems  likely  to  create  more 
confusion  than  the  retention  of  a  term  not  strictly 
descriptive. 

S.  T.  P. 

London 
Nov.  isf,  1909 


CONTENTS 


rAGK 

INTRODUCTION i 


CHAPTER  I 
THE  AQUATINT  PROCESS         .  .  .  .  n 

CHAPTER  II 

THE     DEVELOPMENT     OF     COLOUR     PRINTING 

AND  THE  INVENTION  OF  AQUATINT  .  .  20 

CHAPTER  III 

THE    USE  OF   AQUATINT  IN  FRANCE  AND   THE 

AQUATINT  WORK  OF  GOYA         •  •  •  59 

CHAPTER  IV 

THE    RISE   OF   WATER-COLOUR    PAINTING  AND 

THE  TOPOGRAPHICAL  DRAUGHTSMAN  .  78 

CHAPTER  V 
PAUL  SANDBY  AND  HIS  AQUATINTA  .  .  98 


X  HISTORY  OF  AQUATINT 

PAGE 

CHAPTER  VI 
RUDOLPH  ACKERMANN  AND  HIS  ASSOCIATES   .  no 

CHAPTER  VII 

HUMPHREY     REPTON     AND      HIS      PLACE      IN 

GARDEN   LITERATURE       .  .  .  .153 

CHAPTER  VIII 

WATER-COLOUR  PAINTERS  AS   TEACHERS,   AND 

THEIR  DRAWING-BOOKS   .  ...  182 

CHAPTER  IX 
FOREIGN  TRAVEL  .  .  .  .  215 

CHAPTER  X 
ENGLISH  TOPOGRAPHY  ....  258 

CHAPTER  XI 
SPORT  AND  NATURAL  HISTORY  .  .281 

CHAPTER  XII 
CARICATURE  AND  COSTUME  .  .  298 


CONTENTS  xi 

PAGE 

APPENDIX  A.    BOOKS   PUBLISHED   BEFORE  1830 

WITH  AQUATINT  PLATES  .  325 

„  B.    BIOGRAPHICAL     NOTICES     OF 

ENGRAVERS  WHOSE  NAMES 
APPEAR  ON  THE  PLATES  .  358 

„  C.    ARTISTS  WHOSE  NAMES   APPEAR 

ON  THE  PLATES     .  .  .372 

„  D.    PUBLICATIONS    BY    ACKERMANN 

WITH  AQUATINT  PLATES  .  374 

„  E.    BOOKS      ILLUSTRATED      BY 

ROWLANDS  ON  IN  WHICH 
AQUATINT  WAS   EMPLOYED      .  379 

„  F.    ALPHABETICAL       LIST      OF 

AQUATINT  ENGRAVERS,  WITH 
THE  BOOKS  ILLUSTRATED  BY 
THEM  .  .  .  .388 

„  G.    LIST  OF  AUTHORITIES         .  .  406 

INDEX 409 


LIST  OF  ILLUSTRATIONS 

Sea-Gulls  at  Southampton.    Original  Aquatint 

by  Miss  C.  M.  Pott,  R.E.  .  .  Frontispiece 

This  plate  has  been  made  with  an  open  grain  to  show  clearly 
the  nature  of  the  aquatint  ground.  With  the  exception 
of  some  slight  details  it  was  completed  with  four  bitings. 


TO  FACE  PAGE 


1.  Plate  showing  different  aquatint  grounds.     Collo- 

type.   By  T.  H.  A.  Fielding.     From  The  Art  of 
Engraving  {i^^\)  ....  14 

2.  Specimen   plate  showing  different   kinds   of   en- 

graving.    Collotype  .  .  .  .  18 

3.  Les  NOUVELLISTES.     By  Jean  Baptiste  Le  Princ  e  44 

4.  After  a  drawing  attributed   to   Gerard   Terburg. 

By   Cornells   Ploos   van    Amstel.       From    the 
Collection  (limitations  de  Dessins  (1821)  .  52 

5.  The     CAFi:    Frascati.       By    Louis     Philibert 

Debucourt  .....  66 

6.  El  famoso  Martincho  vuelca  un  toro  en 

LA  PLAZA  DE  MADRID.     By  Francisco  Goya. 

From  The  Taur omaquia  {i?>i$)   -  .  .  77 

7.  London   Bridge,  after  Joseph  Farington,  R.A. 

From  Boydell's  History  of  the  River  Thames 

(1794) 80 

8.  Margate  from  the  Parade.     By   P.  J.   de 

Loutherbourg,  R.A.     From  Picturesque  Scenery 

of  Great  Britain  {\%Q\)    ....  84 


xiv  HISTORY  OF  AQUATINT 


TO   FACE  PAGE 


9.  Windsor  Terrace,  looking  Eastward.  By- 
Paul  Sandby,  R.A.  From  Five  Views  of 
Windsor  Castle  and  Eton  (1796-7)        .  .  106 

10.  Rudolph  Ackermann.     From    a   portrait   by 

A.  Mouchet  in  the  possession  of  Mr  Arthur 
Ackermann,  by  permission  of  the  Editor  of 
The  Printing  Art  .  .  .  .  no 

11.  Christie's  Auction  Room,  after  T.  Rowlandson. 

From  The  Microcosm  of  London^  vol.  ii.  (1808)  .  124 

12.  View   from    My   Own    Cottage   in    Essex. 

By  Humphrey  Repton.  From  Fragments  on 
the  Theory  and  Practice  of  Landscape  Gardening 
(1816) 155 

13.  The   Windmill.      By  David   Cox.      From    The 

Young  Artisfs  Companion  {i2>2$)  .  .  211 

14.  Le  La  voir  de  l'H6tel  Dieu  (1809).     By  J. 

C.  Nattes.     From  Views  of  Versailles    .  .  217 

15.  The  Elk.     By  Samuel  Daniell.     From  A  Pictur- 

esque Illustration  of  the  Scenery,  Animals,  and 
Native  Inhabitants  of  the  Island  of  Ceylon  ( 1 808)  245 

16.  The  Papyrus  Plant.    By  William  Daniell,  R.A. 

From  Memoirs  descriptive  of  Sicily  and  its 
Islands  (1824),  by  Captain  W.  H.  Smyth  .  246 

17.  The  Taj  Mahal.    By  C.  R.  Forrest.    From  A 

Picturesque  Tour  along  the  Rivers  Ganges  and 

fumna  (1824)       .....  248 

18.  Trinity  College.     By  J.  Malton.     From  A 

Picturesque  View  of  the  City  of  Dublin  (1794-5)  263 


LIST  OF  ILLUSTRATIONS  xv 


TO  FACE  PACa 


19.  An    Island   on    the    Thames,    near    Park 

Place,  Oxfordshire.  By  William  Havell. 
From  A  Series  of  Picturesque  Views  of  the 
River  Thames  {1^22))        ....  265 

20.  Gravesend.     By  William  Westall,  A.R.A.,  and 

Samuel  Owen.    From  A  Picturesque  Tour  of  the 

River  Thames  (1828)        .  .  .  269 

21.  St  Michael's  Mount,  Cornwall.    By  William 

Daniell.  From  A  Voyage  round  Great  Britain 
(1814-25) 279 

22.  A  Tiger  springing  on   an   Elephant.     By 

Samuel  Howitt.      From  Orme's  Foreign  Field 

Sports  {i%ii-\a^)  .....  282 

23.  A  Wayside  Inn.     By  J.  A.  Atkinson.     From  a 

print  belonging  to  the  Author     .  .  .  318 

24.  Itinerants    on    the    Boulevards.     By  R. 

B.    Peake.      From    Costume   Caractiristique  de 

France  (1819)      .....  319 


INTRODUCTION 

The  history  of  aquatint  and  its  employment,  whether  in 
book  illustration  or  in  the  production  of  single  plates, 
occupies  but  a  small  corner  in  the  history  of  art,  one, 
moreover,  which  has  hitherto  not  proved  of  sufficient 
interest  to  stimulate  any  systematic  research  or  grouping 
of  material. 

It  has  been  a  bypath  of  special  attraction  for  me 
since  the  days  when  I  first  made  acquaintance  with  the 
splendid  range  of  books  published  by  Ackermann,  and 
illustrated  by  aquatints  of  high  importance.  I  have  been 
glad  therefore  to  collect  and  note  for  the  use  of  others 
such  information  as  I  have  obtained  by  means  of  con- 
tinuous research  in  the  various  fields  in  which  aquatint 
engraving  was  applied, — fields,  as  I  have  attempted  to 
show,  far  more  extensive  than  is  generally  supposed. 

One  may  say  at  the  outset  that  much  of  the  attraction 
of  the  process,  as  seen  at  its  best  in  the  coloured  plates 
of  the  period  under  review,  is  due  to  its  being  only  partly 
mechanical.  Though  two  and  occasionally  even  three 
colours  were  printed  from  one  plate,  the  remaining  tints 
were  added  by  hand,  with  the  result  that  there  is  a 
certain  spontaneity  and  natural  effect  not  seen  in  other 
forms  of  engraving. 

The  period  during  which  aquatint  was  largely  used 
in  England  ranges  from  1775,  when  it  was  introduced  by 


2  HISTORY  OF  AQUATINT 

Paul  Sandby,  to  1830,  or  somewhat  later,  but  the  finest 
and  most  important  examples  are  comprised  within  a 
period  of  less  than  fifty  years.  In  France  the  process 
was  in  use  earlier,  and  I  have  devoted  a  separate  chapter 
to  the  fine  exponents  of  aquatint  in  that  country  and  to 
the  aquatint  work  of  Goya,  the  methods  of  these  artists 
standing  apart  from  those  adopted  in  England. 

In  England  we  find  certain  well-defined  subjects  to 
which  the  aquatint  method  was  applied,  notably  topo- 
graphy —  including  both  architecture  and  scenery  — 
costume,  sport,  caricature,  and  a  series  of  drawing-books 
issued  by  well-known  water-colour  artists,  who  were 
frequently  also  fashionable  drawing-masters,  in  the  early 
days  when  water-colour  painting  was  a  universal  accom- 
plishment among  the  upper  classes. 

This  book  is  meant  to  serve  a  twofold  purpose.  On 
the  one  hand  it  is  intended  as  a  guide  to  the  student  of 
aquatint  engraving  ;  on  the  other  to  call  attention  to  a 
mode  of  illustration  which  at  its  best  has  never  been 
surpassed  in  the  history  of  book  production.  In  order  to 
emphasize  the  importance  of  aquatint  in  this  connection 
I  have  added  at  the  end  a  list  of  books  containing 
aquatint  illustrations,  though  finality  in  such  a  biblio- 
graphy is  at  present  out  of  the  question.  To  make  any- 
thing like  a  complete  list  would  be  impossible  without 
searching  all  the  illustrated  books  of  the  period,  since  it 
is  not  usual  for  any  library  to  indicate  in  its  catalogue 
the  precise  nature  of  the  plates  used  in  illustration.  An 
examination  of  booksellers'  lists  shows  too  that  even 
here  it  is  difficult  to  discover  what  books  are  illustrated 
in  aquatint,  owing  to  the  loose  way  in  which  illustrations 


INTRODUCTION  3 

are  described.  Woodcuts  and  steel  engravings,  being 
sought  after  by  collectors,  are  generally  distinguished ; 
but  only  when  the  aquatints  are  specially  fine,  or  by 
some  artist  well  known  as  a  worker  in  that  method 
and  possibly  signed  by  him  as  "  aquatinter,"  are  they 
specifically  so  indicated.  For  the  most  part  they  have 
to  be  searched  for  under  the  general  term  of  "engrav- 
ing," though  this  inadequate  mode  of  description  will 
doubtless  disappear  with  the  increasing  interest  that  is 
being  shown  in  the  different  branches  of  engraving. 

It  would  have  been  interesting,  had  it  been  possible, 
to  give  the  full  titles  of  the  books  in  this  list,  for  it 
was  customary  during  the  period  to  which  they  belong 
to  give  much  valuable  information  in  the  sub-titles  ; 
but,  even  were  space  no  consideration,  it  could  only 
have  been  done  from  personal  inspection  of  each  book. 
The  titles  have  therefore  been  reduced  to  a  certain 
uniformity  of  abbreviation.  Again,  the  number  of 
aquatint  plates  has  been  given  in  most  cases,  but 
although  I  have  personally  examined  the  majority  of 
the  books,  a  certain  number  of  the  titles  are  taken  from 
booksellers'  catalogues  only,  and  as  I  have  not  been 
able  either  to  see  them  or  to  trace  them  elsewhere, 
the  information  obtained  has  been  dependent  upon 
these  entries.  Upcott's  Bibliographical  Account  of 
the  Principal  Works  relating  to  English  Topography^ 
3  vols.,  8vo,  18 18,  is  the  ideal  bibliography  for 
the  book  lover,  but  as  a  practical  model  for  the 
ordinary  classified  list  it  is  unfortunately  too  detailed  for 
imitation.  Over  the  600  volumes  given  in  the  list  it 
would  be  easy  to  spend  more  time  in  research  than  is 


4  HISTORY  OF  AQUATINT 

warranted  by  the  importance  of  the  subject,  but  I  hope 
that  in  its  present  form  it  will  be  of  use  to  the  collector, 
and  if  it  only  serves  the  purpose  of  preventing  book- 
sellers from  breaking  up  books  with  illustrations  in 
order  to  realize  large  prices  for  the  separate  plates,  it 
will  be  well  worth  the  trouble  that  has  been  taken  in 
compiling  it. 

The  list  of  engravers  known  to  have  worked  in 
aquatint  is  a  fairly  long  one,  but  of  comparatively  few  is 
there  much  of  interest  to  be  discovered ;  in  some 
instances  indeed  it  is  only  possible  to  give  the  approxi- 
mate date  at  which  they  worked.  If  this  book  should 
prove  of  sufficient  interest  to  require  a  second  edition,  no 
doubt  both  the  list  of  engravers  and  the  bibliography 
could  be  extended,  and  I  shall  welcome  any  omissions 
brought  to  my  notice. 

Although  a  very  large  number  of  contemporary 
books  have  been  consulted,  there  is  curiously  little 
relevant  material  to  be  found,  outside  a  few  old  treatises 
and  the  usual  sources  of  biographical  detail.  As  soon 
as  the  art  was  duly  established  every  handbook  of  en- 
graving set  forth  its  use  and  technique,  but  these 
accounts  are  mostly  devoid  of  any  literary  or  special 
interest,  and  to  the  hand  colouring  so  extensively 
employed  there  are  only  passing  allusions  ;  still,  there 
are  certain  books  on  the  period  that  may  be  read  with 
pleasure,  and  a  few  that  may  be  of  use  to  the  collector ; 
these,  with  the  best  early  treatises,  will  be  found  in  the 
List  of  Authorities.  To  this  general  statement  one  im- 
portant exception,  however,  must  be  made.  In  English 
Coloured  Books,  a  volume  of  the  "Connoisseur's  Library," 


INTRODUCTION  S 

published  in  1906,  Mr  Martin  Hardie  has  devoted  a 
section  to  coloured  aquatint  which  deserves  careful 
study.  My  own  work  was  begun  and  a  part  of  it  com- 
pleted some  time  before  Mr  Hardie's  book  appeared, 
and  had  this  been  more  accessible  to  the  general  public  I 
should  probably  have  thought  it  useless  to  continue  my 
researches.  The  unavoidable  delay  in  completing  my 
book  has  enabled  me  to  profit  by  Mr  Hardie's,  and  I  am 
glad  to  take  this  opportunity  of  acknowledging  my 
indebtedness  to  it. 

In  the  study  of  aquatint  it  is  not  so  much  a  literary 
interest  that  must  be  expected,  as  the  interest  belonging 
to  the  exploration  of  a  comparatively  unworked  field. 
Incidentally,  however,  the  student  will  be  brought  into 
touch  with  a  delightful  range  of  subjects  : — the  develop- 
ment of  water-colour  painting ;  the  beginnings  of  travel 
and  adventure  ;  architecture  and  topography;  the  history 
of  costume ;  the  manners  and  customs  of  an  age  cele- 
brated for  caricature,  all  of  which  provided  material  for 
this  branch  of  engraving. 

As  each  successive  year  brings  a  heavier  burden  of 
publications,  and  many  of  those  dealing  with  matters 
of  art  are  worse  than  useless,  some  apology  seems 
to  be  needed  for  adding  to  their  number.  My  excuse 
must  be  that  the  more  any  subject  is  overladen  with 
the  superfluous,  the  more  necessary  it  is  to  throw 
light  on  its  neglected  bypaths.  A  source  of  en- 
thusiasm in  their  day,  the  less  important  -branches  of 
art  have  barely  escaped  being  stifled  under  a  constant 
succession  of  fresh  developments,  and  this  is  especially 
true  of  book  illustration.     Aquatints,  lithographs,  steel 


6  HISTORY  OF  AQUATINT 

engravings,  the  woodcuts  of  the  Victorian  school  all 
have  now  disappeared  before  the  onslaught  of  photo- 
mechanical processes.  But  there  is  still  a  small  section 
of  book  lovers  who  turn  with  satisfaction  to  the  time 
when  the  engraver  was  the  translator  of  the  painter,  and 
both  again  were  but  partners  in  the  attempt  worthily  to 
interpret  the  author.  For  them  this  book  may  have  a 
use,  while  for  others  who  share  the  present  interest  in 
all  forms  of  coloured  prints,  it  may  stimulate  a  taste  for 
some  of  the  most  attractive  examples  of  colour  illustra- 
tion to  be  found  throughout  four  centuries  of  book- 
making. 

I  would  strongly  recommend  anyone  who  intends  to 
make  a  special  study  of  aquatint  engravings  to  get  a 
general  knowledge  of  the  history  of  engraving  and 
acquaint  himself  with  the  various  methods  of  black-and- 
white  reproduction.  If  he  is  going  to  be  a  collector  of 
prints  or  illustrated  books,  he  should  be  able  at  once  to 
recognize  the  prints  that  he  comes  across  and  be  in  no 
uncertainty  as  to  the  class  to  which  they  belong.  For 
this  purpose  no  better  introduction  to  the  subject  can  be 
found  than  Etchings  Engraving  and  the  other  Methods  of 
Printing  Pictures,  by  Singer  and  Strang,  London,  4to, 
1897.  With  this  as  a  constant  companion,  together 
with  the  purchase  of  a  few  cheap  specimens  of  different 
kinds  of  prints,  a  sufficient  working  knowledge  for  the 
collector  will  soon  be  obtained.  For  purposes  of  com- 
parison, however,  I  have  given  a  specimen  plate  showing 
the  different  kinds  of  engraving,  line,  mezzotint,  stipple, 
etching,  soft  ground  etching,  and  dry  point. 

There  is  no  difficulty  in  telling  an  aquatint  from  a 


INTRODUCTION  7 

lithograph  even   without  examination,   for  the  indenta- 
tion made  by  a  copperplate  on  every  impression  taken 
from  it  is  obvious  at  once,  whereas  a  print  from  stone 
has  no  plate  mark.     But  the  beginner  may  occasionally 
be    misled    by    a    soft    ground    etching,    especially   as 
aquatint  was  now  and  again  combined  with  this  process ; 
sometimes,  for  instance,  we  find  an   aquatint  with  the 
outline   etched   on   a   soft    ground,    sometimes    a    soft 
-ground  etching  with  a  tone  of  aquatint  thrown  over  it. 
Soft    ground    etching   was    largely   used    to    reproduce 
chalk  or  pencil  drawings,  and   was  almost  entirely  dis- 
continued  after   the    invention    of    lithography,    which 
process  it  greatly  resembles  in  quality.     The  procedure 
briefly  stated  is  as  follows  :    The  plate  is  coated  with 
tallow  mixed  with  the  usual  etching  ground  in  about 
equal   proportions,    and    smoked    as    for    an    ordinary 
etching.     An  outline  of  the  subject  having  been  faintly 
traced  on  a  thin  paper,  this  is  strained  over  the  plate 
and  pasted  down  at  the  back.     The  etcher  then  redraws 
his  subject,  following  the  lines  of  the  tracing.     When 
the  paper  is  removed,  it  will  be  seen  that,  wherever  the 
pencil  has  gone,  the  paper  has  picked  up  the  ground, 
leaving  a  line  that  has  a  grained  quality  corresponding 
to  the  grain  of  the  paper,  so  that  the  copper  is  there 
more  or  less  exposed.     The  plate  is  then  bitten  in  the 
usual  way.      When  the  plate  has  been  reworked  with 
the  addition    of  an   aquatint    ground,  the   broken    line 
of  the  soft  ground  etching  blends  in  the  printing  with 
the   tone   of  the   aquatint    ground    instead    of    giving 
definition  and  contrast  to  it,  like  the   ordinary  etched 
line. 


8  HISTORY  OF  AQUATINT 

Another  cause  of  doubt  as  to  whether  an  impression 
is  from  an  aquatint  plate  occurs  when  the  bitings  are 
very  deep  and  the  granular  appearance  is  lost.  Again 
a  misleading  effect  of  line  comes  over  the  network  of  the 
ground,  when  the  plate  has  been  rocked  and  the  acid 
made  to  flow  regularly  in  certain  directions.  This  effect 
obscures  the  small  irregular  islands  of  white  generally 
visible  when  the  ground  is  carefully  examined,  and  in 
such  a  case  the  glass  must  be  directed  to  the  lighter 
parts  of  the  picture  rather  than  to  the  darker.  With 
coloured  prints  it  is  sometimes  exceedingly  difficult  to 
detect  the  number  oi  printed  colours,  as  distinguished 
from  those  added  by  hand.  If  the  tint  has  been  put  on 
with  a  brush  the  reticulations  of  the  ground  will  show 
dark  underneath  its  lighter  parts,  the  wash  covering  the 
whole  surface  lines  and  spaces  alike ;  if  it  has  been 
printed,  the  parts  between  the  reticulations  will  show 
white  and  the  lines  will  appear  of  the  colour  that  has 
been  used. 

The  main  fields  of  study  are,  of  course,  the  British 
Museum  and  the  National  Art  Library,  but  the  shops 
of  second-hand  booksellers  and  printsellers  will  be 
found  almost  equally  important.  In  these  one  may 
spend  many  an  hour,  turning  over  books  and  portfolios 
and  studying  the  technique  of  the  subject,  grounds, 
methods  of  tinting,  mixed  processes,  and  the  like.  It  is 
perhaps  difficult  under  these  circumstances  to  refrain 
from  putting  together  a  portfolio  of  one's  own,  for 
aquatints  are  still  within  the  means  of  the  poor  collector, 
though  good  coloured  prints  now  run  into  pounds,  where 
a  few  years  back  they  cost  only  shillings. 


INTRODUCTION  g 

In  the  course  of  a  short  time  the  collector  of  one 
kind  of  print  incidentally  learns  much  that  is  useful 
about  other  kinds,  and  something  besides  of  the  general 
history  of  engraving.  And  if  he  is  a  buyer  of  books 
rather  than  of  single  prints  he  will  probably  find  that 
even  in  the  comparatively  limited  field  of  aquatints  he 
will  need  to  specialise.  A  collection  of  the  publications 
of  Ackermann  will  make  by  far  the  largest  calls  upon 
his  purse,  for  of  late  these  have  greatly  risen  in  value, 
and  the  returns  of  the  prices  reached  by  them  at 
auction  testify  to  an  increasing  demand.  But  complete 
sets  of  books  by  the  Daniells,  the  Havells,  Malton  and 
Ireland  may  still  be  put  together,  though  the  less 
responsible  booksellers  continue  to  break  up  these  and 
other  volumes  with  coloured  illustrations  in  order  to  get 
a  larger  price  for  the  separate  prints  than  they  could 
obtain  for  the  complete  work.  If  the  books  illustrated 
by  individual  engravers  seem  to  offer  too  restricted  a 
field,  one  of  the  various  subjects  with  which  they  deal 
is  sure  to  appeal  more  than  another.  Topography 
perhaps  offers  the  widest  range  of  interest,  but  sport, 
costume,  caricature  and  foreign  travel  all  give  oppor- 
tunity for  research  and  occasion  for  enthusiasm.  With 
a  view  to  the  need  of  the  collector  of  particular 
subjects  rather  than  of  aquatints  in  general,  the 
list  of  books  illustrated  in  aquatint  has  been  sub- 
divided into  a  few  main  groups  in  the  different 
appendices. 

As  the  mastery  of  one  small  book  may  be  the 
key  to  the  perfect  knowledge  of  a  language,  so  the 
detailed   study    of    some    small   field    of    art    may   be 


lo  HISTORY  OF  AQUATINT 

the  foundation  of  a  true  appreciation  of  its  higher 
branches.  The  student  of  aquatints  is  not  likely  to 
confine  himself  to  them  alone,  but  is  sure,  sooner 
or  later,  to  pass  on  to  an  appreciation  of  the  wonders 
of  line  engraving  and  the  rich  beauty  of  the  fiinest 
mezzotints. 


CHAPTER  I 

THE   AQUATINT    PROCESS 

The  art  of  aquatinting  is  still  practised,  more,  however, 
as  the  occasional  pastime  of  the  modern  etcher  than  as 
a  method  of  engraving,  excepting  in  so  far  as  it  forms 
the  basis  of  photogravure.  The  few  artists  who  have 
recently  attempted  to  revive  it  speak  more  of  its  diffi- 
culties and  uncertainties  as  a  method  of  reproduction 
than  of  its  interest  as  a  process,  or  the  beauty  of  its 
results.  But  we  are  dealing  with  a  period  when  it 
constituted  the  ordinary  means  of  rendering  the  drawings 
of  the  water-colour  artist,  and  when  the  command  over 
it  as  a  method  of  translation  was  apparently  as  certain 
as  that  over  its  immediate  successor  lithography.  Indeed, 
the  surprising  feature  of  aquatint  engraving  during  the 
period  under  observation  is  the  extent  of  its  use  and  the 
variety  of  subjects  to  which  it  was  applied  with  equal 
success.  The  present  chapter,  devoted  to  an  account  of 
the  process,  is  largely  drawn  from  two  contemporary 
treatises,  the  one  by  Paul  Sandby  (172 5- 1809),  who  first 
practised  it  in  England,  the  other  by  T.  H.  Fielding 
(178 1- 1 851),  who,  during  a  long  life,  did  some  of  the  most 
attractive  work  ever  produced  in  aquatint.  Paul  Sandby 
left  a  paper  entitled  A  Mode  of  Imitating  Drawings  on 
Copper  Plates  discovered  by  P.  Sdndby,  R.A.,  in  the  year 


12  HISTORY  OF  AQUATINT 

1775,  to  which  he  gave  the  Name  of  Aquatinta^  and 
Fielding  published  his  treatise  on  different  modes  of 
engraving  in  1841,^  so  that  our  authorities  belong 
respectively  to  the  beginning  and  end  of  the  time  during 
which  it  was  the  favourite  method  of  book  illustration. 
Fielding's  work  is  indeed  something  of  a  survival,  for  by 
1 830  lithography  had  largely  superseded  aquatint ;  that 
date  therefore  has  been  taken  as  marking  the  close  of  our 
period,  though  a  few  later  books  have  been  included 
in  the  list  of  books  illustrated  with  aquatints.  The 
technique  of  the  process  differs  at  the  present  day  in 
details  only  from  that  in  use  when  T.  H.  A.  Fielding, 
J.  C.  Stadler,  J.  Clark,  J.  Hill,  the  Daniells  and  many 
others  did  the  work  so  much  appreciated  in  their  time. 

The  first  step  in  the  process  of  aquatint  engraving  is 
to  lay  a  ground  or  grain  upon  a  highly  polished  copper 
plate.  To  get  this  grain  it  is  necessary  to  cover  minute 
portions  of  the  plate  so  that  these  will  be  protected  from 
the  acid  bath  and  only  the  intervening  spaces  be  affected 
by  it.  But  the  spaces  to  be  bitten  must  lie  so  close 
together  that  they  cannot  be  detected  by  the  naked  eye. 
Anything  therefore  \w  the  nature  of  a  deposit  that  resists 
the  action  of  acid  will  suffice,  provided  it  is  fine  enough. 
The  acid  will  attack  the  spaces  that  separate  the  particles 
deposited,  and  when  the  plate  is  inked  and  printed  from, 
they  will  appear  as  tiny  white  spaces  into  which  the  ink 
has  not  penetrated. 

At  the  present  time  there  are  many  ways  of  getting 

*  Thomas  and  Paul  Sandby,  Royal  Academicians.  Some  Account  of  their 
Lives  and  Works,  by  William  Sandby.     London,  8vo,  1891. 

2  The  Art  of  Engraving  with  the  Various  Modes  of  Operation.,  by  T.  H. 
Fielding.     London,  Svo,  1841 


THE  AQUATINT  PROCESS  13 

an  aquatint  ground,  but  for  a  considerable  period  only- 
two  were  in  use,  the  dust  ground  and  the  spirit  ground. 
The  former  is  believed  to  have  been  invented  by  Jean 
Baptiste  Leprince,  from  whom  Sandby  derived  it. 
Sandby,  however,  seems  to  have  modified  this  method 
by  the  invention  of  the  spirit  ground,  for  which  he  claims 
the  title  of  "discovery." 

Leprince  made  a  box  containing  a  flywheel  with  a 
cord  wound  round  the  axle  which  could  be  pulled  from 
the  outside.  Into  this  box  he  put  some  very  finely 
powdered  resin  or  bitumen.  The  box  was  then  closed 
and  the  wheel  set  in  motion  so  as  to  raise  the  dust  in  a 
cloud.  When  this  had  begun  to  settle  he  slid  his  copper 
plate,  previously  rubbed  over  with  a  greasy  rag,  into  the 
box.  When  completely  covered  with  the  powder,  the 
plate  was  struck  sharply  on  the  back  to  detach  the 
superfluous  dust,  and  the  remaining  resin  was  fixed  by 
warming  the  plate  until  the  dust  changed  colour  from  a 
brown  to  a  bluish  tint.  In  a  good  ground  the  grains  of 
resin  should  be  all  of  the  same  size,  for  where  they  vary 
the  smaller  particles  are  destroyed  by  the  acid  before  the 
plate  is  sufficiently  bitten. 

In  the  liquid  or  spirit  ground  resin  is  dissolved  in 
pure  alcohol,  and  a  certain  quantity  of  water  added, 
which,  when  the  solution  is  poured  over  the  plate, 
reticulates  the  resin,  i.e.,  draws  it  together,  leaving 
a  network  of  tiny  channels  in  which  the  copper  is 
exposed.  The  spirit  evaporates  and  in  a  few  minutes 
the  granulation  is  complete.  The  resin  will  thus  be 
found  spread  over  the  plate  in  minute  grains,  ready  to 
resist  the  acid,  which  will  bite  only  in  the  little  network 


14  HISTORY  OF  AQUATINT 

of  spaces  between  them.  The  coarseness  or  fineness  of 
the  grain,  in  other  words  the  size  of  the  islands  in  the 
network,  is  regulated  by  the  quantity  of  resin  used. 
The  weaker  the  solution  the  smaller  the  grain,  and  the 
strongest  solution  will  therefore  give  the  coarsest  ground. 
The  many  resinous  gums  which  when  dissolved  can  be 
used  for  grounds  also  help  to  explain  the  variety  of  these 
granulations.  The  plate  in  Fielding's  book,  giving 
examples  of  eight  different  kinds  of  grounds,  should  be 
examined  through  a  strong  glass  ;  appended  to  it  is  a  list 
of  the  eight  different  compositions  that  they  represent. 
There  is  indeed  almost  as  much  difference  between  the 
tiny  and  beautiful  circular  plates  of  J.  Aspin's  Naval  and 
Military  Exploits^  only  two  and  a  half  inches  in 
diameter,  and  the  large  Views  in  Egypt  by  Luigi  Mayer, 
which  are  on  the  coarsest  of  grounds,  as  there  is  between 
two  different  classes  of  engraving.  And  in  point  of 
execution  what  could  be  more  varied  than  J.  H.  Clark's 
illustrations  to  Don  Quixote  or  Gil  Bias  and  Havell's 
plates  in  Audubon's  Birds  of  America  ? 

Spirit  grounding  is  apt  to  vary  greatly,  being  affected 
by  the  temperature  as  well  as  the  moisture  of  the  air, 
while  dust  grounds  can  be  laid  with  certainty,  but  the 
quality  of  an  aquatint  on  a  spirit  ground  is  much  brighter 
and  lasts  longer  in  the  printing.  In  the  best  aquatint 
work  the  granulation  should  hardly  be  visible,  certainly 
never  conspicuous.  Although  there  is  now  more  variety 
in  the  laying  of  grounds  than  existed  in  the  early 
days  of  the  art,  the  process  is  fundamentally  that  above 
described. 

Sometimes   an   outline  of  the  subject  was   slightly 


¥ 


AQUATINT  GROUNDS 

from 
T.  H.  Fielding's  ART  OF  ENGRAVING,  1841.  Plate  5 


THE  AQUATINT  PROCESS  15 

etched  on  the  plate  before  the  ground  was  laid,  in  which 
case,  to  avoid  the  etched  line  being  unduly  bitten  by  the 
subsequent  applications  of  acid  used  for  biting  the  tones, 
it  could  be  filled  up  with  printer's  ink  in  the  usual  way 
and  allowed  to  harden  before  the  aquatint  ground  was 
laid.  This  etched  outline  is  frequently  found,  especi- 
ally in  early  work,  and  its  employment,  besides  giving 
emphasis,  serves  as  a  guide  for  the  stopping-out  pro- 
cesses shortly  to  be  described. 

The  second  step  in  the  process  is  the  transference  of 
the  subject  or  drawing  to  the  grounded  plate.  This  is 
done  either  by  tracing  over  a  paper  prepared  for  the 
purpose,  or  by  drawing  direct  on  the  ground  with  a 
suitable  pencil. 

The  picture  being  now  visible  on  the  prepared 
ground,  the  plate  is  ready  for  the  third  stage,  or  rather 
sequence  of  stages,  and  these,  though  theoretically 
simple,  are  full  of  practical  difficulties.  Every  part  of 
the  plate  to  be  left  white  is  next  carefully  stopped  out  by 
means  of  a  sable  brush  and  a  thick  composition  called 
"  stopping  out "  varnish,  after  which  a  first  and  very 
slight  tint  is  bitten.  This  is  done  by  immersing  the 
plate  in  an  acid  bath,  after  protecting  the  back  and  edges 
by  a  coating  of  resisting  varnish  ;  in  the  days  of  Sandby, 
however,  a  wall  of  wax  was  built  round  the  margin  of 
the  plate  to  make  a  dish,  and  the  acid  poured  over  it. 
A  feather  is  used  to  dissipate  the  bubbles  of  gas  formed 
on  the  metal  by  the  action  of  the  acid ;  the  plate  is  then 
rinsed  in  water  and  dried.  The  broadest  shadows  and 
darkest  touches  are  now  painted  over  with  a  composition 
called  "  touching  stuff."     When  this  is  dry  the  whole  sur- 


i6  HISTORY  OF  AQUATINT 

face  of  the  plate  is  covered  with  a  thin  varnish  and  again 
immersed  in  cold  water,  when  in  a  short  time  the  shaded 
parts  intended  to  print  dark,  and  by  this  time  covered 
with  the  "  stuff,"  will  burst  through  the  varnish,  which  will 
float  up  and  can  easily  be  removed.  The  plate  is  again 
subjected  to  the  acid  bath,  and  these  two  processes  of 
stopping  out  and  biting  are  repeated  as  often  as  the 
necessary  number  of  gradations  of  tone  require.  With 
each  successive  biting  the  plate  gets  darker,  and  the 
limit  to  the  number  of  times  a  plate  may  be  bitten  lies 
in  the  ground,  which  gradually  disappears  under  the 
action  of  the  acids.  If  weakened  beyond  a  certain  point, 
that  is  to  say,  if  the  ground  is  all  bitten  away,  the 
impressions  are  grey  and  the  plate  useless.  The  ground 
may  be  bitten  a  dozen  times  before  the  completion  of  a 
plate.  It  is  best  if  possible  to  have  only  one  ground, 
but  rebiting  grounds  may  be  laid  on  those  parts  which 
it  is  desirable  to  work  over.  Gradations  of  tint  can  also 
be  obtained  in  other  ways  :  dark  touches  can  be  got  by 
"  feathering,"  or  putting  on  the  acid  with  a  brush,  and 
the  lightening  of  tints  can  be  effected  by  burnishing  and 
scraping. 

This  is  not  a  practical  treatise  on  the  art  of  aquatint- 
ing :  nothing  has  therefore  been  said  as  to  the  composi- 
tion of  the  varnishes,  mordants,  and  "touching  stuffs." 
These  details  will  be  found  in  the  many  handbooks  to 
etching  and  engraving,  and  a  comparison  of  modern 
recipes  with  those  given  by  the  early  engravers  will  be 
of  interest  to  those  who  wish  to  make  experiments  of 
their  own.  But  it  is  hoped  that  the  above  outline  will 
prove   sufficient   to    make    clear    the    general    method 


THE  AQUATINT  PROCESS  17 

adopted  in  aquatint  engraving,  a  method  the  purpose  of 
which  was  to  obtain  that  succession  of  flat  tints  so 
acceptable  to  the  early  water-colour  painters,  from 
their  resemblance  to  washes  of  colour.  They  saw  in 
it  a  desirable  means  of  multiplying  their  drawings  and 
giving  a  widespread  popularity  to  the  branch  of  art  that 
they  had  created. 

In  concluding  this  part  of  the  subject  it  may  be 
observed  that  aquatint  engraving  has  more  affinity  with 
mezzotint  engraving  than  with  etching.  Etching  and 
line  engraving  are  alike  methods  of  line  ;  mezzotint  and 
aquatint  can  render  tones,  and  the  delicate  gradations 
from  light  to  shade.  Both  necessitate  the  roughening  of 
the  plate  with  a  grain,  in  mezzotint  made  in  the  copper 
by  means  of  a  tool  called  the  cradle  or  rocker,  worked 
all  over  the  plate  according  to  a  mathematical  plan,  in 
aquatint  by  a  resin  as  above  described.  But  with  a  mezzo- 
tint the  lights  and  middle  tints  are  scraped  away  from 
the  copper,  beginning  with  the  highest  lights  and  leaving 
the  plate  untouched  for  the  darkest  shades,  while  with 
the  aquatint  plate  the  lights  are  stopped  out  in  gradation, 
beginning  with  the  highest,  while  the  deepest  tones  get 
the  most  biting. 

An  instance  of  the  affinity  between  mezzotint  and 
aquatint  may  be  seen  in  a  very  rare  engraving  in  the 
Cheylesmore  Collection  in  the  British  Museum,  the  por- 
trait of  Master  Lambton  after  Sir  T.  Lawrence,  which  with 
its  rich  velvety  tones  has  all  the  appearance  of  mezzotint. 
It  is,  however,  a  very  beautiful  aquatint  in  which  the 
rocker  has  perhaps  been  used  on  the  face  and  legs,  the 
transition  from  one  method  to  the  other  being  hardly 


i8  HISTORY  OF  AQUATINT 

perceptible.  The  fact  is  that  it  is  a  copy  of  a  mezzo- 
tint by  Samuel  Cousins,  which  possibly  accounts  for 
the  care  taken  to  imitate  the  texture  of  the  original. 
I  know  no  other  example  of  portraiture  of  this  type 
rendered  in  aquatint,  but  the  plate  can  hold  its  own 
with  the  finest  mezzotints.  Pure  mezzotint  on  copper, 
without  the  introduction  of  line  or  dot,  has  undoubtedly 
produced  the  most  beautiful  results  of  any  style  of 
engraving,  and  as  a  method  adapted  to  portraiture  is  un- 
surpassed ;  but  the  plates,  unless  steel-faced,  will  not 
yield  a  large  number  of  impressions,  while  the  aquatint 
plate,  if  highly  polished  before  the  ground  is  laid,  will 
throw  off  some  hundreds  without  showing  any  wear  and 
tear.  The  quality  of  mezzotint  lies  in  its  burr,  so  does 
that  of  dry-point  etching  :  in  both  cases  the  deterioration 
of  the  plate  by  printing  from  it  is  very  rapid.  In 
aquatint  work  as  in  pure  line  etching  there  is  no  burr, 
the  lines  in  each  case  being  made  in  the  metal  without 
leaving  a  furrow.  The  lasting  quality  of  aquatint  is  due 
to  this  fact  and  is  only  limited  by  the  shallowness  of  the 
lines.  Aquatint  bears  the  same  relation  to  mezzotint  in 
this  respect  as  etching  in  line  does  to  dry  point.  "  We 
have  seen  in  Paris,"  says  Fielding,  "the  five-hundredth 
impression  of  one  of  the  plates  of  Ostervald's  Voyage 
Pittoresque  en  Sicile,  engraved  with  a  very  fine  grain,  in 
which  even  the  most  delicate  tints  had  not  become  more 
weak,  and  have  no  doubt  that  two  thousand  good  im- 
pressions might  be  taken  off.  The  copper  was  doubly 
hammered  and  when  polished  had  a  peculiar  silvery 
appearance." 

The   characteristics   of  aquatint   engraving  and   its 


I.  STIPPLE 
3.  LIXE  ENGRAVING 
5.  SOFT  GROUND  ETCHING 
(roulette  introduced) 


2-  MEZZOTINT  (enlarged) 
4.  ETCHING 
6.  DRY  POINT 


THE  AQUATINT  PROCESS  19 

differentiation  from  other  forms  of  engraving  may  be 
thus  summed  up :  they  consist  in  getting  tones  rather 
than  lines  on  the  surface  of  a  copper  plate  to  which  a 
ground  has  been  given  by  means  of  aqua-fortis,  working 
from  light  to  dark, — that  is  to  say,  the  lights  being 
obtained  by  the  first  and  lightest  bitings,  the  darks 
by  the  later  and  longer,  in  an  ascending  scale.  Its  limita- 
tions lie  in  the  difficulty  of  getting  more  than  a  few 
differences  of  shade — on  account  of  the  rapid  deterioration 
of  the  ground  with  successive  bitings — and,  compara- 
tively speaking,  in  the  absence  of  transitions  from  one 
tone  to  another,  such  as  are  easily  obtainable  in  mezzo- 
tint, the  stopping-out  brush  necessarily  defining  the  tones 
without  blending  them.  Half-tones,  therefore,  are  not 
easy,  and  an  elaborate  chiaroscuro  is  seldom  achieved. 


CHAPTER  II 

THE   DEVELOPMENT    OF    COLOUR    PRINTING    AND   THE 
INVENTION    OF    AQUATINT 

Though  Horace  Walpole  writes  '  Want  of  colouring  is 
the  capital  deficiency  of  prints,'^  there  are  those  who  hold 
that  colour  as  applied  to  any  form  of  engraving  is  a 
mistake,  and  that  it  is  of  the  essence  of  the  art  to  pro- 
duce only  in  black  and  white.  Be  that  as  it  may,  it  is 
yet  undeniable,  as  M.  Henri  Beraldi  points  out,^  that 
every  new  method  of  black-and-white  engraving  has 
been  immediately  succeeded  by  a  corresponding  colour 
process.  And  whatever  the  feeling  of  the  connoisseur 
may  be,  the  public  has  always  refused  to  admit  that 
colour  must  of  necessity  be  confined  to  painting.  More- 
over the  earliest  experiments  in  colour  printing  were 
made  by  the  engravers  themselves,  not  as  a  result  of 
popular  demand,  but  in  order  to  satisfy  the  desire  to 
extend,  legitimately  as  they  conceived,  their  own  par- 
ticular province  of  art. 

Before  dealing  with  the  production  of  coloured  prints 
from  aquatint  plates,  it  may  be  interesting  to  sketch  very 
briefly  the  history  of  colour  printing,  so  far  as  it  may  be 

*  Catalogue  of  Engravers.     Ed.  Wornum,  p.  119. 

2  "  De  chaque  nouveau  procdd^  de  gravure  en  noir  invent^  est  immddiate- 
ment  d^rivd  un  procedd  correspondant  de  gravure  en  couleurs."  Portalis, 
La  gravure  en  couleurs.     Gazette  des  Beaux  Arts,  1888,  II, 


DEVELOPMENT  OF  COLOUR  PRINTING    21 

inferred  from  the  examples  of  previous  experimenters, 
excluding,  however,  the  coloured  impressions  from 
wood-blocks  which  date  back  as  early  as  the  fifteenth 
century,  and  including  only  colour  printing  from  copper 
plates.  But  it  may  be  well  to  remind  the  reader  of 
the  fundamental  distinction  between  wood-  and  metal- 
engraving.  As  far  as  early  work  is  concerned  the  wood 
block  was  always  a  relief  block,  and  the  metal  plate 
always  incised.  Thus  in  the  one  the  design  is  in  relief, 
in  the  other  it  is  in  intaglio.  In  the  wood  it  is  the 
design  in  relief  that  takes  the  ink  or  colour  and  that 
prints,  the  white  spaces  being  cut  away ;  in  the  metal 
it  is  the  lines  or  spaces  of  the  incised  design  that  are 
filled  with  ink  and  that  print,  after  the  surface  of  the 
plate  has  been  wiped  clean  and  the  paper  forced  by 
pressure  into  the  parts  below  the  surface.  The  methods 
are  thus  diametrically  opposed,  and  the  difference  is 
summed  up  very  briefly  and  forcibly  by  Ruskin  : — 
"  In  metal-engraving  you  cut  ditches,  fill  them  with 
ink  and  press  your  paper  into  them  ;  and  in  wood- 
engraving  you  leave  ridges,  rub  the  tops  of  them  with 
ink  and  press  them  on  your  paper."  ^ 

There  are  two  modes  of  colour  printing  from  metal. 
The  one  is  to  take  a  single  plate  already  engraved  and 
ink  it  all  over  at  once  with  the  required  colours,  forcing 
the  individual  colour  into  the  bitten  parts,  blue  for  the 
sky,  green  for  the  foliage  and  so  on.  Painting  the  plate 
in  this  way  is  a  laborious  process,  nor  is  it  easy  to  keep 
the  colours  strictly  to  the  parts  to  which  they  belong 
and  avoid  overlapping.     The  exact  procedure  of  early 

'  Ariadne  Florenttnay  §  76. 


22  HISTORY  OF  AQUATINT 

times  is  doubtful,  but  was  probably  somewhat  as  follows. 
The  surface  of  the  plate,  instead  of  being  covered  in  the 
ordinary  manner  with  one  ink,  was  treated  by  the  printer 
with  different  colours  applied  by  dabbers  of  various  sizes, 
such  as  are  used  in  etching.  These  are  made  of  cotton 
wool  which,  tied  lightly  in  a  piece  of  fine  silk,  forms  an 
even  and  elastic  cushion.  Each  colour  would  thus  be 
put  on  to  the  part  to  which  it  naturally  belonged,  and 
forced  into  the  sunk  parts  of  the  plate,  and  what  was 
superfluous  would  be  removed  from  the  surface,  just  as 
in  ordinary  copper-plate  printing.  In  this  method, 
known  as  printing  h  la  poupde^  the  plate  itself  is  strictly 
speaking  coloured,  and  the  success  of  the  method 
depends  upon  the  deftness  with  which  this  is  done 
and  the  care  with  which  the  subject  is  subsequently 
printed.  To  the  printer,  therefore,  is  due  a  considerable 
part  of  the  credit  in  obtaining  colour  harmony,  and  the 
early  engravers  were  generally  their  own  printers.  As 
it  was  necessary  to  colour  the  plate  for  each  successive 
impression,  it  was  also  possible  to  vary  the  blending 
of  the  colours,  with  the  result  that,  when  it  is  possible 
to  compare  several  impressions  of  the  same  subject, 
there  is  never  found  the  absolute  uniformity  associated 
with  mechanical  reproduction.  The  printing  stage 
being  finished,  the  artist  would  give  the  necessary 
touches  of  colour  to  such  parts  of  each  impression  as 
were  too  small  to  be  effectively  dealt  with  by  the  dabber. 
A  clearer  colour  result  may  sometimes  be  obtained  from 
a  somewhat  worn  plate ;  hence  the  later  practice  of 
taking  one  that  has  been  used  for  black  printing  and 
issuing  coloured   impressions   from   it   in   this  manner. 


DEVELOPMENT  OF  COLOUR  PRINTING    23 

The  fact  that  no  two  impressions  from  a  coloured  one- 
print  plate  are  exactly  alike,  in  consequence  of  the 
difficulty  of  inking  twice  in  precisely  the  same  way, 
is  considered  a  drawback  and  even  to  disqualify  the 
process  from  being  considered  as,  strictly  speaking, 
colour  printing,  especially  as  the  prints  have  often  to 
be  touched  up  by  hand.  But  there  are  two  sides  to 
this  question,  and  it  is  not  of  necessity  a  disadvantage 
that  each  print  should  have  a  certain  individuality  of  its 
own.  We  have  only  to  compare  several  colour  prints 
taken  from  one  of  the  plates  of  the  modern  school  of 
etchers,  especially  in  France,  to  see  what  different,  and 
in  many  cases  interesting,  effects  are  obtained  by  experi- 
ments in  the  repeated  colouring  of  a  single  plate. 

One-plate  colour  printing  was  used  in  the  crayon  or 
roulette  method,  of  which  the  finest  examples  were  done 
in  France  by  Bonnet  and  Demarteau  ;  in  mezzotint, 
witness  the  prints  of  M'Ardell,  Valentine  Green  and 
others ;  and,  possibly  with  the  best  results  of  all,  in 
stipple,  as  may  be  seen  from  the  plates  by  Bartolozzi, 
W.  W.  Ryland,  Thomas  Burke,  and  Caroline  Watson. 
Lastly  we  find  the  one-plate  method  used  in  the  aqua- 
tints of  the  early  nineteenth  century,  which  will  be  dealt 
with  in  detail  later,  that  mode  of  engraving  in  the  hands 
of  its  great  French  exponents,  Descourtis,  Janinet, 
Debucourt,  Alix,  and  Sergent,  forming  the  basis  of 
colour  printing  from  several  plates.  As  long  as  the 
one-plate  colour  printing  was  in  vogue,  the  results  were 
obtained  by  an  association  of  artist  and  workman,  the 
final  effects  being  obtained  by  a  certain  amount  of  hand 
colouring  on  the  individual    impressions.     This  is  true 


24  HISTORY  OF  AQUATINT 

alike  of  the  work  of  Hercules  Seghers,  one  of  the  earliest 
experimenters,  and  of  the  English  aquatint  work  of  two 
centuries  later.  Much  indeed  of  the  latter  had  only 
one  printing,  the  colour  being  added  entirely  by  hand. 
Many  critics  of  aquatint  engraving  find  in  this  addition 
of  hand  work  a  subject  of  reproach,  but  the  draughtsmen 
employed  for  this  purpose  were  often  artists  of  no  mean 
attainment  and  the  result  at  its  best  is  little  behind  that 
of  a  water-colour  drawing  of  the  earlier  type. 

The  second  method  of  obtaining  colour  impressions 
is  to  take  several  plates  of  exactly  the  same  size  and 
engrave  upon  each  the  part  that  is  to  be  printed  with 
a  separate  colour.  They  will  then  be  printed  from  con- 
secutively, one  on  top  of  the  other,  the  right  position 
being  obtained  by  means  of  registration  holes  to  ensure 
the  exact  position  of  the  paper.  This  way  is  much  more 
expeditious,  and  inasmuch  as  it  is  less  open  to  acci- 
dental variations  is  generally  considered  more  correct 
as  colour  printing ;  the  several  plates  can  be  inked  by 
an  intelligent  workman,  whereas  the  preparation  of  the 
single  plate  necessitates  the  direction,  if  not  the  actual 
hand,  of  the  artist.  Registration  presents  the  chief 
difficulty,  as  the  paper  has  to  be  damped,  and  expands 
and  contracts  unequally,  so  that  the  greater  the  number 
of  printings  the  greater  the  risk  of  the  final  result  being 
spoiled.  The  number  of  plates  varies  greatly :  four  or 
five,  if  dexterously  used,  will  give  a  considerable  colour 
result,  but  the  French  engravers  above  mentioned  used 
eight  or  more  and  their  system  of  registration  can  be 
seen  on  the  margins  of  their  prints. 

Certain  of  the  names  mentioned  as  pioneers  in  early 


DEVELOPMENT  OF  COLOUR  PRINTING    25 

colour  printing  may  be  briefly  dealt  with  here,  for  their 
work  is  so  experimental  that  it  can  hardly  be  described 
as  true  colour  printing ;  but  a  short  review  will  put  the 
reader  in  touch  with  these  attempts  and  possibly  lead  to 
more  research  on  this  fascinating  subject.  A  holiday  or 
two  spent  in  the  print-rooms  of  foreign  galleries  would 
probably  yield  a  harvest  of  discoveries  and  possibly 
throw  more  light  on  attempts  that  are  both  elusive  and 
perplexing. 

First  in  order  both  of  time  and  interest  come  the 
experiments  of  Hercules  Seghers  (i590?-i645  ?).  a 
Dutch  painter  and  etcher,  born  at  Amsterdam.  It 
is  only  lately,  and  chiefly  through  the  exertions  of 
Dr  Wilhelm  Bode,  that  certain  paintings  have  been 
definitely  assigned  to  him,  his  work  having  been  attri- 
buted to  Rembrandt,  Ruysdael,  Van  Goyen  and 
others  whom  he  influenced.  In  artistic  feeling  he  was 
so  far  in  advance  of  his  time  that  he  remained  al- 
most unknown  by  his  contemporaries  and  unappreciated 
for  many  generations.  He  was  one  of  the  first  Dutch 
painters  to  practise  etching  with  any  freedom  of  handling, 
and  it  is  from  the  special  character  of  his  etchings  that 
it  has  been  possible  to  trace  his  pictures  with  certainty. 
His  plates  have  the  strong,  simple  and  direct  character 
natural  to  the  painter  who  sees  landscape  in  tones  with 
a  view  to  colour.  Although  no  plate  bears  his  name  it 
is  easy  to  detect  his  work  after  seeing  a  number  of  his 
prints,  apart  from  the  faint  and  rather  curious  colours 
which  form  their  peculiar  distinction,  from  their  strongly 
individual  character.  Seghers  saw  nature  through  a 
somewhat  sombre  temperament,  and  was  able  to  suggest 


26  HISTORY  OF  AQUATINT 

to  the  spectator  the  varying  moods  with  which  he  ap- 
proached her.  Moreover  he  had  few  of  the  landscape 
conventions  of  his  time,  and  the  outer  world  seems  to 
have  revealed  itself  to  him  in  a  natural  way  not  previously 
understood.  This  quality  it  is  that  has  apparently 
prompted  recent  criticism  to  assign  him  a  place  as  the 
founder  of  modern  landscape  painting.  His  etched  work 
is  of  great  importance.  About  sixty  different  prints  are 
known,  fifty  of  which  are  at  Amsterdam.  The  British 
Museum  has  only  a  few  and  the  National  Art  Library 
at  South  Kensington  none.  Some  of  those  at  the  British 
Museum  were  shown  there  in  1899  at  the  Exhibition  of 
Drawings  and  Etchings  by  Rembrandt.  Landscape  is 
the  subject  of  all  that  are  extant,  with  the  exception  of 
the  "  Lamentation  at  the  Foot  of  the  Cross,"  Seghers' 
only  figure  plate,  two  of  still  life  and  one  of  horses.  The 
plate  of  the  "  Lamentation  "  is  a  reversed  copy  of  a  well- 
known  woodcut  by  Baldung ;  there  is  a  fine  example  of 
it  in  colours  in  the  library  at  Chatsworth  {^Devonshire 
Prints,  vol.  iv.,  folio  132,  No.  211).  An  excellent 
reproduction  is  to  be  found  in  a  paper  on  Seghers  by 
Dr  Wilhelm  Bode,^  from  which  one  gets  an  idea  of  the 
remarkable  colour  scheme  of  the  original  and  of  the  way 
in  which  from  only  a  few  tones  Seghers  has  made  a 
coloured  picture  out  of  the  black-and-white  woodcut. 
So  attractive  is  it  that  one  wishes  all  Seghers'  etchings 
could  be  reproduced  in  like  fashion.  It  is  evident 
from  the  character  of  his  work  that  he  had  a  great 
love  of  coloured  impressions,  and  that  those  in  black 

1  Der  Maler  Herkules  Seghers,  von  Wilhelm  Bode.  Jahrbuch  der  Konig- 
lichen  Preussischen  Kunstsammlungen,  Band  24.     Berlin,  1903. 


DEVELOPMENT  OF  COLOUR  PRINTING    27 

and  white  were  merely  experimental — the  groundwork 
in  fact  for  the  impressions  which  by  means  of  print- 
ing in  tones  and  the  subsequent  addition  of  different 
colours  he  tried  to  work  up  into  complete  picture  com- 
positions. These  coloured  prints  are  of  great  rarity. 
The  Print  Room  of  the  Rijks  Museum  possesses  the 
largest  collection  of  them,  and  should  undoubtedly  be 
visited  by  the  student  of  Seghers'  work.  His  landscape 
etchings  give  for  the  most  part  the  flat  character  of  his 
native  country,  though  there  are  many  scenes  from 
mountain  and  valley  as  well.  He  has  certain  conven- 
tions of  his  own  as  regards  the  character  of  the  strokes 
that  depict  special  features  of  flat  ground  or  rock  forms 
and  a  way  of  obtaining  shadows  that  reminds  one  of 
their  rendering  later  on  after  the  discovery  of  the  aqua- 
tint process.  His  drawing  of  fir  trees  also  has  been  one 
of  the  chief  means  of  identifying  his  paintings. 

His  exact  method  of  procedure  in  the  production  of 
coloured  prints  can  hardly  be  ascertained,  but,  from  a 
comparison  of  different  impressions  from  the  same  plate 
at  varying  stages,  it  would  appear  that  the  etching  needle 
was  only  used  to  give  the  base  sketch  or  outline  and 
that  he  always  printed  from  one  plate,  generally  with  one 
colour,  blue,  green  or  brown.  He  used  coloured  papers, 
yellow,  brown  or  bluish  grey,  to  get  richness  of  effect ; 
sometimes  also  a  sort  of  canvas.  He  occasionally  tinted 
the  papers  himself,  and  so  manipulated  the  prints  by 
means  of  water-colour  washes,  even  using  oil  colour  for 
the  lights,  that  he  turned  them  out  with  the  appearance 
of  coloured  sketches,  varying  with  each  impression. 
His  prints  were  entirely  experimental,   for   in   several 


28  HISTORY  OF  AQUATINT 

examples  of  the  same  subject  the  treatment  appears  to 
be  entirely  difFerent.  He  does  not  seem  even  to  have 
charged  his  plates  with  different  colours  a  la  poup^e,  but 
to  have  made  a  variety  of  backgrounds  and  then  printed 
over  them  with  a  single  colour. 

For  a  man  of  his  genius  and  originality,  whose  output 
of  work  too,  seems,  from  the  inventories  and  catalogues 
of  his  time,  to  have  been  fairly  considerable,  it  is  strange 
that,  with  the  one  brilliant  exception  of  Rembrandt,  he 
should  have  had  little  direct  influence  on  his  younger 
contemporaries.  From  his  acquaintance  with  Seghers 
date  Rembrandt's  first  landscape  and  early  landscape 
etchings,  and,  as  Bode  says,  it  is  not  the  smallest  laurel 
in  the  crown  of  the  older  artist,  unknown  to  his  contem- 
poraries and  forgotten  by  subsequent  generations,  that 
he  guided  the  great  poet  of  landscape  in  these  paths. 

Still  other  experiments  with  one  plate  were  made  by 
Johannes  Teyler  in  a  work  of  which  only  a  single  copy 
appears  to  be  known,  that  in  the  British  Museum.^  At 
the  beginning  is  the  following  MS.  note,  written  by  one 
of  the  few  descendants  of  Teyler :  "  Ce  livre  imprim6 
par  Teiller  est  non  seulement  rare  mais  absolument 
unique.  C'est  le  seul  ex'emplaire  existant  et  dont 
I'existence  6tait  inconnue  puisqu'il  ^tait  rest6  dans  la 
famille  de  son  auteur.  .  .  .  Cette  collection  est  surtout 
d'un  prix  inestimable,  puisqu'elle  prouve  de  la  maniere  la 
plus  evidente  que  la  Chromotype  avec  une  seule  planche 
existait  d6ji  avant  1 700."     The  book  has  a  MS.  title  with 

*  Teileri J.  Batavi,  Chalcographi  ingeniosissimi,  opus  Typochromaticum,  i.e.  Typi 
aenei  otnni  colorum  gtnere  impressi,  et  ab  eo  ipso  primum  inventi.  (Described  by 
J.  E.  T.  Graesse  in  Trisor  de  Livres  Rares  et  Pr^cieux,  Supplement  1869.)  I 
Tol.  large  folio.     175  plates. 


DEVELOPMENT  OF  COLOUR  PRINTING    29 

a  border  printed  in  colours,  at  the  back  of  which  is  a 
colour  plate  with  a  medallion  and  the  inscription,  "  Quam 
nee  Parrhasius  palmam  carpsit,  nee  Apelles,  Teilerus 
punctis  atque  colore  tulit."  Then  follow  173  plates  of 
different  sizes,  including  9  portraits,  11  views  of 
Amsterdam,  15  views  of  Rome,  the  Rhine,  etc.,  34 
representations  of  birds  and  10  of  flowers.  No 
plate  bears  any  name,  date  or  any  other  indication, 
and  it  would  appear  that  the  collection  was  made  by 
Teyler  himself  from  his  own  plates  and  experiments. 
The  5  large  views  of  Amsterdam  contained  in  the 
book  are  well  known,  and  are  considered  among  the 
rarest  of  Dutch  topographical  prints.  The  representa- 
tions of  birds  are  as  fine  as  anything  in  the  book, 
one  plate,  representing  a  flying  duck,  being  of  peculiar 
beauty.  Nagler^  says  that  many  of  the  prints  are 
worked  upon  with  the  brush,  showing  again  that  Teyler, 
in  common  with  other  early  experimenters,  combined 
his  printing  efforts  with  hand-work.  The  book  is 
supposed  to  have  been  published  at  Amsterdam 
about  1670:  and  little  is  known  of  the  author,  except 
that  he  was  Mathematical  Professor  at  the  Military 
College  at  Nimeguen,  where  he  was  born,  and  that 
while  there  he  set  up  a  factory  for  the  printing  in 
colours,  not  only  of  engravings  but  of  fabrics  as  well. 
It  is  however  possible  that  the  engraved  title  on  the 
volume  merely  indicates  Teyler's  intention  to  publish  a 
work  to  be  entitled  Opus  Typochromaticum. 

Another    Dutch   artist   who  used  a  single  plate  is 
Peter    Schenk     of    Amsterdam    (1645  ?-i 715  ?).        He 

*  Kunstlerlexicon  XTii.  (Teiler). 


30  HISTORY  OF  AQUATINT 

worked  from  line  engravings,  chiefly  representations  of 
flowers  and  birds,  which  he  printed  in  natural  colours. 
The  appearance  of  the  white  paper  between  the  lines 
gives  an  unpleasant  effect,  since  the  colours  are  pre- 
vented from  blending — line  engraving  being  in  fact  only- 
suitable  for  black-and-white  work,  where  the  tones  are 
those  of  light  and  shade,  to  which  white  gives  the 
necessary  value,  and  not  for  colour  printing,  in  which 
light  and  shade  should  be  got  by  gradation.  None 
of  his  colour  plates  are  to  be  seen  in  our  national 
collections. 

These  early  experiments  with  colour  from  a  single 
plate  are  chiefly  interesting  as  marking  the  desire  for 
actual  colour  printings  which  is  really  the  making  of  a 
separate  plate  for  each  colour  and  the  printing  of  them 
all  by  means  of  registration  on  a  single  sheet  of  paper. 
But  although  these  early  attempts  were  not  the  real 
thing,  they  have  in  most  cases  not  only  the  charm  of 
rarity  but  often  of  original  and  unmechanical  effects 
obtained  through  the  artist's  desire  to  secure  a  pictorial 
result.  To  this  end  he  often  retouched  the  proofs  by 
hand,  adding  colour  that  could  not  be  printed,  and  re- 
sorting to  certain  technical  devices  of  which  he  alone 
had  the  secret,  and  which  were  the  outcome  of  his  own 
special  process.  The  exact  method  by  which  many  of 
these  prints  have  been  produced  is  a  puzzle  to  the  expert. 
A  strong  magnifying  glass,  however,  will  distinguish  the 
parts  that  have  been  printed  from  those  that  are  coloured 
by  hand.  If  the  colour  has  been  printed,  the  paper 
between  the  incised  lines  and  dots  will  be  white ;  if  put 
on  by  the  brush,  spaces  and  lines  alike  will  have  the 


DEVELOPMENT  OF  COLOUR  PRINTING    31 

same  colour,  and  where  there  are  masses  of  light  and 
shade  the  brush  marks  themselves  will  generally  be 
found. 

The  hand  colouring  of  prints  dates  back  from  a  time 
far  earlier  than  that  we  are  concerned  with,  and  several 
treatises  exist  giving  rules  and  directions  for  its  use. 
Of  these  may  be  mentioned — A  Book  of  drawing, 
limning,  washing,  or  colouring  of  maps  and  prints,  pub- 
lished in  1660;  The  Art  of  Painting  in  Oyl  .  .  .  to 
which  is  added  the  whole  art  and  mystery  of  colouring 
maps  and  other  Prints  with  Water  Colours,  by  John 
Smith,  published  in  1723;  The  Art  of  Drawing  and 
Painting  in  Water  Colours;  Whereby  a  Stranger  to 
these  Arts  may  be  immediately  rendered  capable  of  Deline- 
ating any  View  or  Prospect  with  the  utmost  exactness ;  of 
Colouring  any  Print  or  Drawing  in  the  most  Beautiful 
Manner.  This  was  printed  for  J.  Peele,  at  Locke's 
Head,  in  Amen-Corner,  1731,  and  another  book  by  the 
same  author.  Method  of  learning  to  draw  in  Perspective, 
brought  out  by  the  same  publisher  in  1735,  devotes  a 
considerable  space  to  the  technique  of  the  colouring  and 
tinting  of  engravings.  The  fine  works  on  Natural 
History  of  the  eighteenth  century  illustrated  by  line 
engravings,  such  as  Curtis's  botanical  books  and  Benjamin 
Wilkes's  English  Moths  and  Butterflies,  were  nearly  all 
hand-coloured.  The  practice  of  tinting  drawings,  out  of 
which,  as  has  been  shown,  developed  the  art  of  water- 
colour  painting,  was  itself  a  development  of  the  colour- 
ing of  plates,  and  those  who  had  attained  skill  in  print 
colouring  were  well  qualified  to  wash  skies  and  lay  flat 
tints  on  architectural  drawings.    Young  artists  frequently 


32  HISTORY  OF  AQUATINT 

began  their  apprenticeship  as  print  colourers  ;  Girtin  was 
thus  employed  by  T.  Malton  and  Edward  Dayes,  and 
he  and  Turner  first  became  acquainted  when  each  was 
working  for  John  Raphael  Smith.  With  the  introduction 
of  aquatint  and  its  employment  in  book  illustration  the 
occupation  of  colourer  or  '  washer '  of  prints  became 
well  recognised,  and  was  one  that  gave  employment  to 
very  many  persons  in  the  service  of  the  publishers  of 
illustrated  books. 

Of  all  the  early  experimenters  in  colour  printing 
Jacob  Christoph  Le  Blon  (1667-1741)  is  undoubtedly  the 
best  known,  and  attention  has  of  late  been  directed  to 
him  afresh  as  the  forerunner  of  the  modern  workers  in 
the  three-colour  process  of  photo-mechanical  printing. 
He  belonged  to  the  race  of  born  inventors,  yet  his 
career,  like  that  of  many  another  adventurer  in  the 
paths  of  discovery,  was  marked  by  practical  failure.  A 
German  by  birth,  notwithstanding  his  name,  he  left  his 
nativer  town  of  Frankfurt,  where  his  father  was  a  book- 
seller, to  be  taught  by  Konrad  Meyer  of  Zurich,  and  in 
1686  went  in  the  suite  of  the  ambassador  Count  von 
Martinitz  to  Rome,  where  he  became  the  pupil  of  Carlo 
Maratta.  His  friend  the  painter  Bonaventura  von 
Overbeck,  finding  him  inclined  to  dissipation,  persuaded 
him  to  return  with  him  to  Amsterdam,  where  he  settled 
as  a  painter  of  portraits  in  miniature,  an  art  in  which  he 
seems  to  have  attained  success.  Later  on,  when  his 
sight  began  to  fail,  he  painted  cabinet  pictures  and  por- 
traits less  than  life  size.  It  was  at  Amsterdam  that  he 
first  began  his  experiments  in  colour  printing,  the  out- 
come  of  his   enthusiasm  for   Newton's   theory   of  the 


DEVELOPMENT  OF  COLOUR  PRINTING    33 

threefold  composition  of  light.  His  first  plates  were  a 
portrait  of  General  W.  van  Salisch,  then  Governor  of 
Breda,  and  a  sleeping  nymph  watched  by  a  faun,  after  a 
painting  of  his  own.  Like  other  inventors,  he  was  care- 
ful to  keep  his  process  a  secret,  and  he  had  visions  of 
eventually  making  his  fortune  by  taking  out  a  patent 
which  should  be  bought  by  a  company  formed  to  secure 
facsimile  reproductions  of  the  old  masters  in  oil  painting. 
But  neither  at  Amsterdam,  nor  at  the  Hague,  nor  at 
Paris,  whither  he  subsequently  went,  did  he  meet  with 
any  financial  support. 

Finally,  in  1719,  he  determined  to  try  his  fate  in 
London,  where  he  secured  the  interest  of  Colonel  Sir 
John  Guise  and  Lord  Perceval,  who  brought  him  per- 
sonally to  the  notice  of  King  George  I.  After  a 
successful  portrait  of  the  King  and  one  of  Prince 
Frederick,  he  obtained  a  patent  (No.  423  of  17 19), 
and  a  company  known  as  the  "  Picture  Office "  was 
at  once  formed  to  work  it.  Colonel  Guise  was  made 
president,  Le  Blon  technical  director  at  a  high  salary, 
and  some  twenty-five  plates  were  produced,  chiefly  full- 
sized  reproductions  of  pictures  in  Kensington  Palace. 
The  patent  was  for  fourteen  years  and  contains  no 
details  of  the  invention,  which  is  described  as  A  New 
Method  of  Multiplying  of  Pictures  and  Draughts  by  a 
Natural  Colleris  with  Impression.  For  a  short  time 
sales  were  good  and  the  company's  stock  rose  to  a  high 
premium ;  but  they  were  not  sufficient  to  meet  the 
enormous  outlay.  General  mismanagement,  for  which 
Le  Blon  as  director  seems  to  have  come  in  for  severe 
censure  and  to  have  been  even   superseded  for  a  time, 


34  HISTORY  OF  AQUATINT 

soon  brought  the  "  Picture  Office  "  into  bankruptcy  and  it 
was  closed  in  1722,  Colonel  Guise  alone  losing  between 
six  and  seven  hundred  pounds.  Between  1723  and 
1726  Le  Blon,  possibly  as  an  effort  to  rehabilitate 
himself  with  the  public,  published  a  book  in  London 
which  he  dedicated  to  Robert  Walpole,  Chancellor  of 
the  Exchequer,  and  in  which  for  the  first  time  he  de- 
scribes the  method  he  had  hitherto  kept  secret  It  is 
written  in  French,  with  a  very  bad  English  translation, 
and  the  undated  title-page  is  as  follows :  Coloritto. 
JL'karmonis  du  coloris  dans  la  peinture,  reduite  en 
pratique  micanique  et  ^  des  regies  sures  et  failles :  avec 
des  figures  en  couleur,  pour  en  faciliter  P  intelligence,  non 
seulement  aux  peintres,  ntais  a  tous  ceux  qui  aiment  la 
peinture.  Par  J.  C.  Le  Blon}  His  method  was  first 
to  resolve  the  picture  to  be  reproduced  into  the  three 
component  colours  of  blue,  yellow  and  red.  He  then 
prepared  three  mezzotint  plates  of  the  same  size,  one 
for  each  of  the  three  colours,  working  on  each  part  of 
the  picture  to  be  printed,  in  the  particular  colour  appor- 
tioned to  it.  White  was  obtained  by  leaving  the  paper 
untouched,  green  by  printing  yellow  on  blue,  brown 
by  printing  red  on  yellow,  and  dark  shadows  by  the 
successive  printing  of  all  three  plates  in  the  order  here 
given,  according  to  a  system  of  careful  registration. 
As  regards  letterpress  the  book  is  of  no  value,  but  it 
has  five  colour  plates  in  illustration  of  the  successive 
stages  of  his  method,  and  is  almost  the  only  example 

*  Reprinted  at  Paris  1756,  edited  by  G.  de  Mont  d'Orge,  a  pupil  of 
Le  Blon,  as  UArt  d'imprimer  les  tableaux.  Traite  (Papres  les  Ecrits^  Us 
Operations  et  les  Instructions  verbales  de  J.C.  Le  Blon. 


DEVELOPMENT  OF  COLOUR  PRINTING    35 

of  book  illustration  in  which  several  copper  plates  are 
used  to  give  colour  to  a  single  print. 

His  failure  apparently  left  Le  Blon  undismayed,  and 
he  proceeded  to  launch  another  venture,  which,  when 
carried  on  at  the  Picture  Office  as  a  branch  of  its 
business,  had  proved  a  failure.  This  was  a  tapestry 
factory,  which  was  set  up  in  the  Mulberry  Ground, 
Chelsea.  The  surprising  thing  was,  that  after  taking 
out  another  patent  in  1727  for  "The  Art  of  Weaving 
Tapestry  in  the  Loom  "  he  actually  managed  to  found 
another  company  to  carry  it  out.  Horace  Walpole's 
portrait  of  him  no  doubt  explains  the  strange  power 
he  had  of  inspiring  confidence  in  his  inventions. 

"  He  was  very  far  from  young  when  I  knew  him,  but 
of  surprising  vivacity  and  volubility,  and  with  a  head 
admirably  mechanic,  but  an  universal  projector,  and 
with  at  least  one  of  the  qualities  that  attend  that  voca- 
tion, either  a  dupe  or  a  cheat ;  I  think  the  former, 
though  as  most  of  his  projects  ended  in  the  air,  the 
sufferers  believed  the  latter.  As  he  was  much  an 
enthusiast,  perhaps  like  most  enthusiasts  he  was  both 
one  and  t'other."^  Three  years  later  he  succeeded  in 
bringing  his  printing  and  weaving  methods  to  the  notice 
of  the  Royal  Society,  and  the  Secretary  Cromwell 
Mortimer's  report  on  them  may  be  read  at  length  in  the 
Philosophical  Transactions,  vol.  xxxvii.,  173 1-2. 

The  new  Company  came  to  grief  even  more  dis- 
astrously than  the  first ;  some  of  its  members  were 
imprisoned,  while  in  1732  Le  Blon  fled  to  Holland. 
At  the  Hague  he  received  funds  to  assist  him  to  Paris, 

*  Catalogue  of  Engravers,  p.  119,  edition  Womum. 


36  HISTORY  OF  AQUATINT 

where,  though  over  sixty  years  of  age,  he  seems  hope- 
fully to  have  started  on  a  new  career.  His  biographer, 
Mariette,  suggests  that  during  this  last  stage  of  his 
career  he  did  little  himself,  but  that  his  plates  were 
produced  under  the  direction  of  his  pupils,  Robert, 
Tardieu  and  Gautier.  Be  that  as  it  may,  under  the 
protection  of  Cardinal  Fleury  he  succeeded  in  1740  in 
getting  a  "  privilege  exclusif  de  roi "  for  his  method,  on 
condition  that  he  printed  in  the  presence  of  the  commis- 
sioners. When  they  reported  on  it  as  too  slow,  un- 
certain, and  expensive  a  method,  he  demanded  another 
secret  meeting  in  order  to  show  them  a  more  expeditious 
way.  This  consisted  in  using  four  plates,  the  first 
printing  black  and  so  by  a  ground  tone  giving  all  the 
shadows  ; — the  black  plate  being  the  very  thing  that  he 
had  hitherto  indignantly  rejected.  He  died  in  1741, 
leaving  pupils  and  associates  who  quarrelled  among 
themselves  over  the  details  of  his  method  and  long  filled 
the  columns  of  the  Mercure  with  their  disputes. 

Professor  Singer  says  that  41  different  colour  prints 
of  Le  Blon  are  in  existence,  and  that  he  is  known 
to  have  executed  at  least  50  plates.  Of  these  he 
estimates  that  some  io,chx)  prints  were  probably  taken, 
and  as  not  a  hundred  can  now  be  traced  in  the 
different  print  collections  of  Europe  and  America,  he 
suggests  that  many  of  them  may  some  time  or  another 
be  discovered  hanging  on  the  walls  of  private  houses 
disguised  as  old  paintings  under  a  coating  of  varnish. 
The  British  Museum  possesses  14  and  the  Bodleian 
2  ;  but  the  Royal  Print  Room  at  Dresden  has  no  less 
than    26,    Vienna    coming    second    with    17.     Perhaps 


DEVELOPMENT  OF  COLOUR  PRINTING    zi 

the  finest  of  all  Le  Blon's  achievements  is  the  life- 
size  portrait  of  Louis  XV.,  a  beautiful  example  of  which 
is  to  be  seen  in  the  Print  Room  of  the  Bibliotheque 
Nationale.  The  young  King  is  represented  in  the  flower 
of  his  youth  ;  the  flesh  tints  are  surprisingly  natural,  and 
the  blue  of  the  dress  is  superb.  But  for  the  most  part 
Le  Blon's  plates  are  dull  and  heavy  in  character,  par- 
ticularly those  in  which  he  adheres  most  strictly  to 
his  application  of  the  Newtonian  theory.  They  show 
indeed,  as  might  be  expected,  the  impossibility  of  de- 
ciding exactly  how  much  of  a  particular  colour  there  is 
in  a  complex  printing,  especially  in  the  flesh  tints.  In 
the  details  of  dress,  where  pure  colours  are  more 
frequently  contrasted,  the  results  are  often  vivid  and 
successful ;  but  there  is  a  certain  lack  of  modelling, 
and  in  the  flesh  tints  little  of  the  power  of  facsimile 
which  Le  Blon  claimed  for  his  process.  In  his  earlier 
work  he,  apparently,  used  one  or  two  extra  plates  and, 
like  most  other  colour  printers,  made  some  additions  by 
hand  on  the  finished  print,  with  the  result  that  these 
early  plates  are  beyond  question  the  most  successful 
and  attractive  of  his  productions.^ 

Le  Blon's  follower  Jacques  Fabien  Gautier  d'Agoty 
(17 1 7- 1 786)  likewise  aimed  at  the  reproduction  of  old 
masters,  but  was  much  less  of  an  artist.  Like  Le  Blon 
he  worked  from  mezzotinted  plates,  using  that  fourth 
one  for  black  which  his  master  long  refused  to  admit, 
regarding  it  as  inconsistent  with  the  method  of  nature. 

»  "J.  C.  Le  Blon,"  Hans  W.  Singer.  Studio,  May  1903.  "Jakob  Chris- 
toffel  Le  Blon,"  Hans  W.  Singer.  Mitteilungen  der  Gesellschaft  fiir  ver- 
vielfdltigende  Kunst.    Vienna,  1901. 


38  HISTORY  OF  AQUATINT 

It  is  obviously  a  far  simpler  process  to  print  a  design  in 
black  and  then  colour  it  in  successive  printings  than  to 
produce  the  modelling  of  light  and  shade  in  a  drawing 
by  the  right  amount  of  superprinting  of  different  colours. 
D'Agoty  was  anxious  to  be  considered  the  originator  of 
the  fourth  plate,  and  claimed  thereby  to  carry  on  Le 
Blon's  process  with  greater  success.  He  applied  to  the 
State  for  recognition  and,  by  order  of  the  Council  of 
Versailles,  was  granted  a  patent  for  three  years  on 
September  5th  1741.  In  1749  he  published  a  pamphlet, 
Lettre  concernant  le  nouvel  Art  dimprimer  les  Tableaux 
avec  quatre  Couleurs,  and  another,  Observations  sur  le 
Peinture,  in  1753,  in  which  he  distinctly  styles  himself 
the  inventor  of  the  process  of  colour  printing.  He 
planned  an  extensive  collection  of  portraits  called 
Galerie  Franfaise,  ou  Portraits  des  Hommes  et  des 
Femmes  cdebres  qui  ont  paru  en  France,  which  contains 
some  attractive  likenesses  of  Louis  XII.  and  Mme.  de 
Maupeou,  but  he  was  occupied  with  too  many  subjects  to 
succeed  in  any  one,  and  only  two  parts  appeared,  in  1770 
and  1772  respectively.  He  was  more  successful  with  his 
anatomical  plates,  which  from  their  crude  but  striking 
realism  attained  considerable  notoriety.  His  chief  work  is 
the  Observations  sur  I! Histoire  Naturelle,  sur  la  Physique 
et  sur  la  Peinture,  Paris,  1753-57,  with  numerous  plates 
in  coloured  mezzotint,  others  in  etching,  some  of  the 
latter  being  coloured  by  hand.  He  is  said  to  have  died  of 
grief  at  being  struck  off  the  roll  of  members  of  the  Dijon 
Academy,  in  consequence  of  private  quarrels.  The 
genealogy  of  the  d'Agoty  family  is  difficult  to  dis- 
entangle, but  Jacques  seems  to  have  had  three  sons, 


DEVELOPMENT  OF  COLOUR  PRINTING    39 

Louis  Charles,  Arnaud  Eloi,  and  Edouard,  who  worked 
with  him. 

His  son  6douard  had  more  talent  than  his  father 
and  excelled  chiefly  in  portraiture.  His  most  important 
work  consists  of  twelve  plates  in  colour,  nearly  all 
executed  from  the  pictures  in  the  collection  of  the  Due 
d'Orleans.  The  process  was  complicated  and  costly, 
and  the  work  of  which  they  were  a  part,  planned  to 
include  fifty  plates,  and  to  cost  ;^900,  was  never  com- 
pleted. On  the  failure  of  his  scheme  the  artist  left 
France  for  Italy,  and  there  died  at  the  age  of  40.  To 
him  must  be  assigned  the  chef  d'ceuvre  of  the  family, 
the  very  rare  colour  print  of  Madame  du  Barry,  a 
fine  copy  of  which  is  in  the  Hennin  Collection  in  the 
Bibliotheque  Nationale.  In  this  portrait,  according  to 
Portalis,  the  process  seems  to  have  been  the  printing 
first  of  a  blue  plate  over  a  slightly  mezzotinted  ground  ; 
the  yellow  plate  has  come  next  and  then  the  red  ;  lastly 
a  fourth  plate  completes  the  effect  by  printing  the  high 
lights  and  the  drawing  of  the  lace.  Still  rarer  is  the 
portrait  of  Marie  Antoinette,  also  by  Edouard,  of  which 
only  one  example  is  known,  and  that  printed  on  velvet. 

The  three-colour  process  seems  to  have  been  prac- 
tised by  hardly  anybody  after  Le  Blon  except  the 
d'Agoty  family  and  Carlo  Lasinio,  who  learnt  it  from 
Edouard  d'Agoty  in  Italy,  and  who  made  a  portrait  of 
him  in  this  manner,  as  well  as  a  series  of  small  engrav- 
ings from  the  pictures  in  the  Uffizi.  A  copy  of  these 
Ritratti  de  Pittori,  with  a  MS.  title,  is  in  the  Print 
Room  of  the  British  Museum.  This  group  of  artists  all 
worked  from  mezzotint  plates,  and  it  is  possible  that  the 


40  HISTORY  OF  AQUATINT 

work  was  made  more  difficult  to  them  by  the  fact  that 
the  grounding  of  a  mezzotint  plate  was  not  thoroughly- 
understood  on  the  continent  at  that  time, — nor  indeed 
was  the  knowledge  of  that  branch  of  engraving  ever  so 
perfect  anywhere  as  in  England. 

There  seems  to  be  no  one  person  to  whom  the  actual 
invention  of  aquatint  can  definitely  be  assigned.  The 
name  of  Jean  Baptiste  Le  Prince  (i 734-1 781)  is  most 
often  connected  with  it,  but  the  Abb^  de  St  Non 
(1727-1791)  practised  it  contemporaneously,  while  a 
Swedish  engraver.  Per  Gustav  Floding  (i 741 -i 791), 
has  some  plates  of  which  four  are  dated  1762.  By  a 
comparison  of  the  dates  of  these  three  men,  it  will  be 
seen  that,  in  default  of  any  specific  statement  of  dis- 
covery or  signed  plates  by  each  and  all  of  them,  it  is 
impossible  to  do  more  than  record  that  between  the  years 
1750  and  1780  they  were  all  at  work  on  experiments 
with  the  aquatint  process. 

In  this  connection  must  be  mentioned  a  large  portrait 
of  Oliver  Cromwell,  attributed  to  Jan  van  de  Velde,  a 
Dutch  engraver  who  was  working  between  1593  and 
1641,  executed  in  line  and  stipple,  but  with  an  aquatint 
background.  If  the  attribution  is  correct  it  would  put 
the  aquatint  process  a  century  before  it  is  supposed  to 
have  been  discovered  :  but  it  is  more  likely  that  the 
attribution  is  mistaken  and  that  the  background  was 
added  later. 

Mention  should  also  be  made  of  an  aquatint  in  the 
British  Museum  of  a  woman  bathing,  which  was  long 
placed  among  engravers  of  the  Rembrandt  school  owing 
to   its   resemblance  to  that  master's   Bathsheba.     It  is, 


DEVELOPMENT  OF  COLOUR  PRINTING    41 

however,  probably  an  eighteenth  century  pastiche,  but 
in  any  case  it  must  rank  among  the  early  examples  of 
aquatint. 

Jean  Claude  Richard  de  St  Non  must  be  placed  in 
the  front  rank  of  amateur  engravers  of  the  eighteenth 
century.  A  man  of  charming  disposition  and  keen 
enthusiasms, — "n6  pour  les  arts  et  I'amitie,"  as  his 
biographer  puts  it, — he  turned  to  life  with  a  zest  and  large- 
heartedness  that  endeared  him  to  his  many  friends. 
Family  influence  having  directed  him  to  the  Church,  he 
was  made  an  abbe,  and  subsequently  had  a  place  in  the 
Legislative  Assembly.  He  was  exiled  with  all  the 
Parliament  and  during  his  exile  took  up  the  study  of 
engraving.  He  afterwards  returned  to  Paris,  but  dis- 
sensions recommenced  and  he  sent  in  his  resignation, 
selling  his  place  in  the  assembly  and  starting  for  Italy 
with  the  proceeds  in  order  to  devote  himself  to  art. 
When  at  Rome  he  came  across  two  students  of  the 
French  Royal  Academy,  Hubert  Robert  and  Honors 
Fragonard,  with  whose  drawings  much  of  his  work  is 
associated.  For  three  years,  from  1759  to  1761,  the 
three  travelled  over  Italy,  the  Abbe  doing  much  miscel- 
laneous work  and  afterwards  rendering  his  drawings  in 
etching  and  aquatint.  The  National  Art  Library  at 
South  Kensington  has  a  large  folio  entitled  Recueil  de 
Griffonis  de  vues,  pay  sages,  fragments  antiques  et  sujets 
historiques  graves  tant  a  Heauforte  quau  lavis  par  M. 
(Abb^de  St  Non  amateur  honoraire  de  Pacad^mie  royale  de 
peinture  d'apres  differents  maitres  des  ^coles  italiennes  et 
de  rScole  frangaise.  The  twenty  etched  plates  are  of 
great   individuality   and    most    attractive   in    character. 


42  HISTORY  OF  AQUATINT 

Further  on  in  the  volume  is  another  etched  title-page, 
Fragments  a  choisir  dans  les  peintures  et  les  tableaux 
les  plus  interessants  des  Palais  et  des  ^glises  ditalie, 
comprising  294  plates  after  Robert  and  Fragonard. 
These  are  mostly  in  pure  aquatint,  that  is  to  say  with- 
out etched  outline,  a  rendering  of  the  wash  drawings 
that  really  justifies  the  title  "au  lavis."  It  is  a  most 
interesting  book  and  particularly  important  for  the 
study  of  early  aquatints.  That  the  process  was  kept  a 
secret  as  far  as  possible  is  shown  by  a  letter  from 
St  Non  to  the  Baron  de  Joursanvault,  in  which  he  says 
that  it  is  impossible  to  explain  the  nature  of  the  dis- 
covery, as  he  had  given  his  word  of  honour  not  to  do 
so.  In  the  history  of  art  one  has  often  reason  to  deplore 
the  efforts  of  pride  or  avarice  to  preserve  the  secret  of 
some  new  discovery,  efforts  that  rarely  or  never  meet 
with  complete  success  except  in  so  far  as  they  often 
leave  in  obscurity  the  origin  and  development  of  a 
particular  process. 

St  Non  made  a  second  sojourn  in  Italy,  especially 
at  Naples,  to  collect  materials  for  his  Voyage  pittor- 
esque  a  Naples  et  dans  les  deux  Sidles^  a  stupendous 
work  in  five  volumes  which  began  to  appear  in  numbers 
in  1778.  It  was  planned  on  a  most  elaborate  scale; 
different  people  had  charge  of  the  several  departments, 
natural  history,  antiquities,  and  the  like,  a  large  number 
of  the  best  known  artists  being  engaged  to  collaborate 
while  he  directed  the  enterprise  from  Paris.  In  the  end 
the  fatigue  and  expenses  connected  with  it  were  so 
great  that  the  artists  became  discouraged  and  withdrew, 
and  the   abbe,  though  able  to  meet  the   expenses   by 


DEVELOPMENT  OF  COLOUR  PRINTING    43 

means  of  his  own  fortune  and  that  of  his  brother,  was 
none  the  less  practically  ruined.  His  friend  J.  R.  De- 
lafosse  (172 1-?),  engraver  and  print-seller,  who  had 
taught  him  the  secret  of  aquatint,  was  also,  like  so  many 
other  engravers  of  the  time,  in  possession  of  a  new  method 
of  printing  in  colours,  possibly  the  precursor  of  that  used 
later  on  by  Debucourt.  This  he  communicated  to  St 
Non  for  his  Voyage  b,  Naples,  which  Delafosse  was  both 
to  edit  and  distribute.  St  Non's  correspondent  the 
Baron  de  Joursanvault  wrote  to  him  for  details,  and  the 
reasons  he  gives  in  reply  for  relinquishing  the  idea  of 
using  colour  plates,  based  chiefly  on  the  criticisms  likely 
to  ensue,  are  interesting  enough,  especially  as  bearing  on 
the  controversies  that  took  place  over  the  coloured 
illustrations  of  Ploos  van  Amstel  and  the  Commission 
of  1768. 

Jean  Baptiste  Le  Prince,  a  skilful  painter  as  well  as 
an  excellent  engraver,  was  born  at  Metz,  where  he  learnt 
the  rudiments  of  both  arts.  As  his  family  was  poor  and 
unable  to  supply  him  with  the  means  of  going  to  Paris, 
he  ingratiated  himself  with  the  Marechal  de  Belle  Isle, 
Governor  of  Metz,  who  took  him  to  the  capital  and 
placed  him  in  the  atelier  of  Fran9ois  Boucher.  A  born 
scapegrace,  his  love  of  money  caused  him  to  marry  at 
eighteen  a  woman  of  forty,  only  to  run  through  her 
fortune,  desert  her  and  go  to  Italy.  Finding  himself 
still  uninspired,  he  returned  to  Paris,  where  he  acquired 
some  reputation ;  but  being  again  in  difficulties,  eventu- 
ally went  to  Russia,  probably  at  the  suggestion  of  his 
brothers,  musicians  settled  at  Moscow.  He  seems  to 
have  been  welcomed  at  St  Petersburg,  where  he  executed 


44  HISTORY  OF  AQUATINT 

pictures  for  the  Imperial  Palace,  remaining  in  Russia  five 
years,  and  living  on  the  proceeds  of  his  work.  He  visited 
various  parts  of  the  empire,  sketching  not  only  land- 
scape, but  also  peasant  life  with  its  costume  and  customs, 
and  thus  introducing  a  type  of  subject  new  to  Russian 
art.  He  became  acquainted  with  Chappe  d'Auberoche, 
whose  travels  in  Siberia  he  subsequently  illustrated,  and 
returned  to  Paris  in  1763  with  an  extensive  selection  of 
drawings,  from  which  he  painted  pictures  and  produced 
plates  in  etching  and  aquatint.  Some  1 60  of  these  are 
known  ;  they  were  issued  in  sets  of  six,  two  of  these  sets 
Suite  dhabillements  de  diverses  nations  and  Suite  de 
coiffures  designees  dapres  nature,  both  issued  in  1768, 
are  in  aquatint.  In  1765,  at  the  age  of  thirty-one,  he 
was  accepted  by  the  Academy  on  the  strength  of  his 
picture,  Un  Bapteme  Russe ;  his  paintings  were  much 
admired,  and  another  of  them,  Le  Corps  de  Garde,  is 
now  in  the  Louvre.  He  seems  to  have  discovered  the 
aquatint  method  almost  without  experiment  and  at  once 
to  have  produced  by  it  a  number  of  plates  which  he 
submitted  to  the  Academy  in  1 769.  In  the  accompany- 
ing letterpress  he  describes  the  prints  as  drawings  in 
Indian  ink  and  bistre  engraved  by  a  new  process  of  his 
invention,  different  from  any  hitherto  in  use,  which  per- 
mits of  working  on  copper  almost  as  quickly  as  drawing. 
The  best  of  these  fall  between  the  years  1768  and  1771, 
and  among  them  may  be  named  La  Danse  Russe, 
Recreation  ChampHre,  La  Musicienne,  La  Jardiniere, 
Le  Po'ele,  La  Lampe  Polonaise,  and  a  pastoral  entitled 
O  Fortunatos  Nimium.  His  plates  in  illustration  of 
Un  Roui  Vertueux  are  competent  if  eccentric  ;  his  last 


DEVELOPMENT  OF  COLOUR  PRINTING    45 

work  in  aquatint  was  a  set  of  three  plates  called  Les 
Sens,  dated  1774.  Although  he  was  elected  on  the 
Council  of  the  Academy  in  1775,  it  does  not  appear  that 
that  body  made  any  attempt  to  obtain  from  him  the 
secret  of  his  new  method  of  engraving,  but  after  his 
death,  the  niece  who  had  looked  after  him  being  in 
straitened  circumstances,  they  decided,  with  a  view  to 
helping  her,  to  offer  a  sum  of  money  for  its  acquisition. 
She  then  made  over  to  them  the  MS.,  which  is  in  the 
handwriting  of  the  artist  and  has  never  been  printed. 
There  are  a  fair  number  of  his  prints  in  the  British 
Museum,  miscellaneous  in  character,  chiefly  small  scenes 
in  sepia  or  Indian  ink,  in  which  the  aquatint  ground  is 
very  fine  and  somewhat  tentatively  used,  while  the  out- 
line is  etched. 

P.  G.  Floding  (1741-1791)  worked  in  Paris  as  a  pupil  of 
Charpentier.  He  engraved  two  plates  after  the  designs 
of  Boucher,  dedicated  to  his  patron  Baron  Ulric  de 
Scheffer,  representing  Soldiers  sleeping  near  the  Prison 
of  St  Peter^  and  Daphne  changed  into  a  Laurel,  both 
dated  1762.  When  Gustavus  III.  of  Sweden  came  to 
Paris  Floding  engraved  the  drawing  executed  by  Cochin 
in  commemoration  of  the  event,  as  well  as  the  portrait  of 
Gustavus  after  Pasche,  and  one  of  his  compatriots,  the 
painter  Balin,  who  like  himself  lived  in  Paris. 

In  the  archives  of  the  Swedish  Academy  of  Arts 
there  is,  says  Loostrom  in  his  History  of  that  Academy, 
an  official  letter  from  Cochin,  then  Secretary  of  the 
Academic  des  Beaux  Arts,  in  which  he  says  that  the 
invention  of  imitating  wash  drawings  by  means  of 
aquatint  must  be  in  large  measure  ascribed  to  Floding. 


46  HISTORY  OF  AQUATINT 

Floding  wrote  a  treatise  on  the  subject  in  which  the 
description  of  his  technique,  though  not  quite  clear, 
suffices  when  taken  in  conjunction  with  his  prints  to 
show  that  he  really  knew  and  practised  an  elementary 
aquatint  not  different  in  nature  from  that  of  Le 
Prince,  though  never  attaining  to  the  depth  and  rich- 
ness of  effect  seen,  for  instance,  in  the  latter 's  R^cr^ation 
ChampHre.  He  speaks  of  his  method  as  "  small  and 
almost  indistinguishable  points  lying  close  by  each  other 
in  about  the  same  manner  as  the  holes  of  the  bees  in  the 
honey  cake."  But  his  plates  are  in  a  very  mixed 
process  ;  line,  etching  and  roulette  are  all  used  on  them, 
and  it  is  only  in  places  that  there  are  patches  of  pure 
aquatint. 

From  very  early  times  attempts  had  been  made  to 
give  tone  to  an  etched  plate  by  means  of  a  delicate 
grain,  produced  by  leaving  acid  on  the  surface  of  the 
plate.  An  interesting  example  of  this  may  be  seen  on 
two  plates  of  somewhat  heavy  renaissance  ornament  by 
Daniel  Hopfer  of  Augsburg  {/?.  1493-1 536p  In  these 
he  has  apparently  obtained  the  high  lights  by  *  stopping 
out,'  and  the  half-tones,  by  feathering  acid  over  the  parts 
required  to  be  left  grey,  producing  a  tone  very  like  that 
given  a  hundred  years  later  by  a  fine  aquatint  ground. 

Of  all  the  attempts  at  intaglio  printing  in  colours, 
none  were  so  interesting,  so  elaborate,  or  so  successful 
as  those  made  by  Ploos  van  Amstel  (i 726-1 798).  The 
son  of  an  Amsterdam  wine  merchant,  he  showed  very 
early  great  talent  in  drawing,  but  his  parents  were  too 

^  Inkunabeln  der  deutschen  Niederldndischen  Radierung.     Gustav  Pauli 
Graphische  Gesellschaft,  Berlin  1908. 


DEVELOPMENT  OF  COLOUR  PRINTING    47 

poor  to  admit  of  his  adopting  the  career  of  an  artist.  He 
was  therefore  apprenticed  to  a  wood  merchant,  whose 
generous  treatment  enabled  him  to  continue  his  studies 
in  drawing,  always  in  the  hope  of  one  day  being  able  to 
devote  himself  exclusively  to  art.  When  his  master 
died  in  1750,  the  nephew,  having  no  interest  in  the  busi- 
ness, gave  it  over  to  Ploos  and  his  friend  Wessiling, 
who  thus  became  heads  of  the  house  and  important 
citizens  of  the  town.  Ploos  was  now  in  a  position  to 
cultivate  the  acquaintance  of  the  artists  he  came 
across,  and  married  the  daughter  of  one  of  them, 
Cornelis  Troost,  herself  a  clever  draughtsman.  He 
frequented  sale-rooms  and  added  to  the  collection  that 
he  had  begun  to  make  at  the  age  of  fourteen,  thus 
laying  the  foundation  of  an  extensive  knowledge  of 
many  branches  of  art.  He  seems  indeed  to  have  fol- 
lowed both  art  and  business  with  equal  assiduity  and, 
through  great  pertinacity  in  the  pursuit  of  his  aim  to 
improve  the  study  of  art  among  his  countrymen,  became 
one  of  the  most  important  and  distinguished  of  con- 
noisseurs. In  1738  a  number  of  artists,  including  Ploos, 
bound  themselves  together  under  the  title  of  *'  Freund- 
schaft  vereinigt  die  Kiinste,"  and  to  their  efforts  the  town 
of  Amsterdam  owes  its  now  important  Academy;  in 
consequence  of  its  success  Ploos,  an  important  member 
of  the  Society,  was  invited  to  help  in  the  establishment 
of  a  similar  Academy  at  the  Hague. 

He  had  made  himself  a  capable  draughtsman  and 
engraver,  and  early  developed  the  idea  of  multiplying 
drawings  by  means  of  engraving.  His  friend  the  gold- 
smith Cootwyk  seems  to  have  had  the  same  intention,  but 


48  HISTORY  OF  AQUATINT 

it  was  with  Josi,  who  later  edited  his  great  work,  that 
Ploos  seems  first  to  have  spoken  of  the  project.  Atten- 
tion had  been  directed  to  the  plates  after  drawings  by 
French  masters  in  red  and  black  crayon,  and  Ploos  set 
himself  to  discover  the  process.  It  was  out  of  this  that 
his  colour  printing  developed,  for  if  one  or  two  plates 
produced  these  crayon  prints,  why,  he  argued,  should 
not  the  use  of  more  plates  give  a  variety  of  colours? 
This  discovery,  as  we  have  seen,  took  place  about  the 
same  time  in  many  places,  but  by  no  one  was  it  carried 
to  such  completion  as  by  Ploos.  He  at  once  set  himself 
to  reproduce  the  great  masters  of  the  Netherlands, 
whom  he  thought  neglected  by  his  countrymen,  and 
between  1764  and  1787  there  appeared  46  plates, 
issued  in  such  time  as  he  could  spare  from  the  demands 
of  his  business  ;  350  impressions  were  struck  from  every 
plate,  each  accompanied  by  a  brief  description.  The 
expense  was  so  great  that,  with  a  view  to  publication 
and  technical  help,  he  took  an  apprentice  whom  he 
bound  over  not  to  reveal  his  secrets  either  during  his 
life  or  after  his  death  and  to  work  entirely  under 
his  control,  under  penalty  of  a  fine  of  3000  florins.  But 
the  apprentice  fell  ill,  and  the  agreement  was  dissolved 
in  1767.  It  would  appear  as  if  there  had  already  been 
criticisms  concerning  the  nature  of  his  process,  giving 
rise  to  suspicions  as  to  its  genuineness  :  for  he  sought  an 
inquiry  from  the  Mattschappy  det  Weeten  Schappen  at 
Haarlem.  The  Commission,  including  the  Mayor  of 
Amsterdam,  met  on  October  8th,  1768,  and  Ploos 
printed  before  them  a  plate  after  Ostade.  The  secre- 
tary then  made  a  report  signed  by  all  present,  a  copy  of 


-      DEVELOPMENT  OF  COLOUR  PRINTING    49 

which  was  given  to  Ploos ;  it  stated  that  "  his  figures 
were  neither  eingraved  by  means  of  the  burin  nor  etched 
with  a  point,  nor  hammered  with  a  puncheon  on  the 
copper,  but  that  they  were  rather  produced  by  means  of 
certain  ground  varnishes,  powders  and  liquids ;  that  he 
by  no  means  coloured  the  prints  by  hand,  but  printed 
them  entirely,  and  not  with  water  colours,  but  with  oil 
colours."  So  runs  the  document,  but,  notwithstanding 
this  detailed  disclaimer,  subsequent  criticism  confirms 
the  suspicions  of  contemporaries,  and  finds  evidence  of 
hand  work  on  his  prints.  Be  that  as  it  may,  there  is  no 
doubt  that  the  splendid  work  which  was  published  by 
Josi  in  London  in  1821  is  among  the  marvels  of  colour 
illustration,  and  that  many  of  the  plates  are  only  dis- 
tinguishable from  original  drawings  by  expert  knowledge 
of  where  and  how  to  look  for  the  signs  of  "process." 
Exactly  how  they  were  produced  no  one  has  been  able 
to  decide.  Many  of  the  operations  remained  secrets  of 
the  workshop,  while  the  imperfect  impressions  from 
which  much  might  be  learnt  and  which  were  probably 
very  numerous  were  undoubtedly  most  carefully  de- 
stroyed. Aquatint  is  very  largely  used,  some  fifteen 
plates  being  beautiful  examples  of  this  method,  but  in 
parts  of  many  of  the  other  plates  there  is  both  mezzotint 
and  roulette  work  ;  other  parts  again  can  hardly  be 
accounted  for  by  any  known  method.  Professor  Singer, 
a  high  authority  on  the  history  of  engraving,  says  that 
he  has  compared  different  copies  of  some  of  Ploos' 
prints  that  had  not  been  touched  for  100  years,  and 
that  they  do  not  tally  as  they  would  have  done  had 
all  the  colours  been  actually  printed. 


50  HISTORY  OF  AQUATINT 

The  faithful  apprentice  had  been  succeeded  by  an- 
other, one  Bernaert  Schreuder,  who  was  admitted  under 
even  more  stringent  regulations ;  but  he  seems  to  have 
demanded  higher  and  higher  prices  for  his  work,  till 
he  at  length  became  an  open  enemy  and  left  his  master's 
service  to  join  a  '*  Company  for  the  issuing  of  prints 
in  the  manner  of  Ploos  van  Amstel."  Ploos  apparently 
realized  that  the  defaulter  was  too  unskilled  to  do  him 
much  damage,  for  he  does  not  seem  to  have  taken  it 
to  heart.  Events  justified  his  indifference,  for  the 
company  found  no  support  and  went  into  bankruptcy 
on  the  death  of  Schreuder. 

The  Prince  of  Orange  had  been  attracted  to  Ploos' 
prints  and  expressed  a  wish  to  be  initiated  into  the 
method :  a  demonstration  was  therefore  arranged,  after 
which  the  Prince  himself  made  a  plate,  Ploos  furtively 
making  a  sketch  of  him  the  while  which  is  still  in 
existence.  The  plate  was  duly  signed  by  the  Prince, 
and  a  medal  was  sent  to  Ploos  to  commemorate  the 
occasion.  He  became  a  member  of  all  the  learned 
societies,  and  as  Director  of  the  Academy  gave  dis- 
courses both  on  painting  and  anatomy  which  were 
printed  by  request  and  brought  him  additional  fame. 
There  is  no  doubt  that  his  insight  and  knowledge  were 
both  very  considerable  ;  he  gradually  became  the  adviser 
of  all  his  friends  who  collected  pictures  and  engravings, 
making  their  catalogues  and  exploring  on  their  behalf 
all  the  sales  and  antiquarian  shops  of  Amsterdam, 
whereby  he  not  only  improved  his  own  knowledge 
but  was  enabled  to  make  private  acquisitions  on  the 
best  of  terms.     His  collection  was   so  important  that 


DEVELOPMENT  OF  COLOUR  PRINTING    51 

when  it  was  dispersed  at  Amsterdam  after  his  death  it 
fetched  109,486  florins. 

Christian  Josi,  to  whom  we  owe  the  publication  of  his 
drawings  in  book  form,  was  a  relation  of  Ploos,  and  had 
been  at  one  time  apprenticed  to  him.  Born  at  Utrecht 
and  educated  at  the  Art  Institute  there,  he  was  sent  to 
England  with  a  travelling  studentship  and  worked  in 
this  country  for  five  years  under  John  Raphael  Smith 
and  also,  it  is  said,  under  Bartolozzi  and  Conrad  Metz. 
At  the  end  of  that  time  he  married  a  daughter  of  Jan 
Chalon,  a  Dutch  painter  living  in  London,  and  settled 
at  Amsterdam  as  an  engraver  and  dealer  in  prints  and 
paintings.  Ploos  intended  to  associate  Josi  with  him 
in  a  continuation  of  his  series  of  drawings  after  the 
Dutch  masters,  but  died  before  the  intention  was 
carried  out.  Josi  fortunately  acquired  his  stock  with 
a  view  to  continuing  the  work,  but  it  was  not  till  twenty 
years  later  that  he  brought  it  to  a  successful  issue.  In 
1 8 10  he  completed  a  catalogue  of  the  Ploos  Collection 
of  etchings  by  Rembrandt  which  were  sold  by  auction 
that  year  in  Amsterdam.  The  book  is  of  great  value, 
and  has  a  portrait  of  Rembrandt  etched  by  Josi  himself, 
though  he  had  discontinued  the  practice  of  engraving 
in  consequence  of  the  failure  of  his  health.  The 
occupation  of  Holland  by  the  French  from  18 10  to 
1 8 14  plunged  the  country  into  mourning,  and  put  a 
stop  for  the  time  to  all  artistic  projects.  On  the 
departure  of  the  French  Josi  left  Amsterdam,  and  was 
one  of  the  committee  selected  in  181 5  to  go  to  Paris 
and  recover  the  works  of  art  taken  thither  by  Napoleon. 
In  18 19  he  brought  his  family  and  collections  to  London 


52  HISTORY  OF  AQUATINT 

and  settled  in  Gerrard  Street,  Soho,  continuing  his 
business  as  print  dealer,  and  preparing  for  the  publi- 
cation of  the  work  of  Ploos  which  was  issued  two 
years  later  under  the  title  of  Collection  d' Imitations 
de  Dessins  d'apres  les  principaux  Mattres  Hollandais  et 
Flamands,  commenc^e  par  C.  Ploos  van  Amstel,  continu^e 
et  port^e  au  nombre  de  Cent  Morceaux  .  .  .  par  C.  Josi. 
A  Amsterdam  et  a  Londres  chez  C.  Josi,  42  Gerrard 
Street,  Soho.  The  book,  of  enormous  size,  is  written 
in  French  and  printed  throughout  in  a  type  pro- 
portionate to  its  scale.  Every  artist  whose  work  is 
represented  has  a  short  notice,  and  there  is  a  preface 
of  an  autobiographical  nature  full  of  reminiscences 
of  sale-rooms  and  collectors.  It  well  deserves  to 
be  made  more  accessible  as  a  delightful  picture  of 
connoisseurship  in  Holland  a  century  ago,  at  a 
time  when  the  country  was  overwhelmed  by  disaster, 
and  also  as  a  graphic  picture  of  the  enthusiasm  for 
English  prints  that  prevailed  on  the  Continent  at  that 
time.  Nothing,  he  tells  us,  would  sell  without  an 
English  title,  whatever  its  merit ;  he  could  not  dis- 
pose of  his  own  work  until  he  had  added  the  required 
inscription,  and  the  result  was  one  of  the  most  extensive 
series  of  forgeries  in  the  whole  history  of  art.  Josi 
died  in  1828  and  his  collection  was  sold  at  Christie's 
in  March  1829:  the  sale  occupied  twelve  days  and 
excited  much  interest  on  account  of  its  owner's  reputa- 
tion as  an  amateur.  His  love  of  art  was  inherited  by 
his  son  Henri  Josi,  Keeper  of  the  Prints  and  Drawings 
in  the  British  Museum  from  1836  to  his  death  in 
1845. 


After  a  Drawing  attriislted  to  Gerard  Terbosch. 

From  the  Collection  d Intitations  de  Dessins  (1S21)  by  Cornells  PIoos  van  Amstel. 


DEVELOPMENT  OF  COLOUR  PRINTING    53 

The  Collection  (£ Imitations  de  Dessins  with  which 
Josi's  name  will  always  be  associated  is  one  of  the 
finest  books  of  its  kind  in  existence.  There  are  100 
plates,  comprising  water-colours  of  Ostade,  flower  and 
fruit  pieces  by  Van  Huysum,  sepia  drawings  of  Van 
Eeckhout,  crayons  of  Metz  and  Mieris,  Indian  ink 
sketches  of  Netscher,  animal  studies  of  Wouwermans 
and  Potter,  sea  pieces  of  Van  Goyen,  and  all  are  executed 
with  the  most  extraordinary  faculty  of  imitating  tech- 
nique. It  was  the  habit  of  Ploos  to  mark  all  his  plates 
with  a  stamp,  so  that  they  are  easily  distinguished. 
Josi  himself,  as  already  said,  etched  the  portrait  of 
Rembrandt ;  other  engravers  were  the  goldsmith  Coot- 
wyck,  Kornlein,  Schrender,  J.  de  Bruyn,  and  Dietrich. 
One  print,  after  a  landscape  by  Rembrandt,  is  signed 
C.  C.  (?  F.  C.)  Lewis.  The  edition  was  limited  to  200 
copies,  half  for  France  and  half  for  England,  and  the 
price  was  forty  guineas  to  subscribers  and  fifty  to  non- 
subscribers.  Josi  disposed  of  the  edition  with  difficulty, 
but  there  is  little  doubt  that  some  day  it  will  be  amongst 
the  books  most  sought  after,  though  its  size,  and  one 
must  add  its  weight,  will  always  be  against  it.  Both 
the  British  Museum  and  National  Art  Library  pos- 
sess copies,  and  at  the  former  the  preface  and  notices 
are  also  to  be  found  in  a  separate  volume  without  the 
illustrations. 

As  we  shall  not  have  occasion  to  allude  to  them 
elsewhere,  it  may  be  well  to  draw  attention  at  this  point 
to  other  books  of  the  same  type  in  which  aquatint  was 
used,  though  to  nothing  like  the  same  extent  as  by  Ploos. 
The  latter  part  of  the  eighteenth  and  early  part  of  the 


54  HISTORY  OF  AQUATINT 

nineteenth  centuries  were  remarkable  for  the  pubHcation 
of  large  volumes  of  reproductions  of  the  wash  drawings 
of  old  masters,  mostly  from  the  private  collections  then  so 
fashionable  among  amateurs.  Chiaroscuro  woodcutting, 
an  extension  to  surface  reproduction  of  the  principle  of 
the  line  woodblock,  was  invented  as  a  means  of  repro- 
ducing wash  drawings  in  which  the  contrasts  of  light 
and  shade  were  marked  with  few  gradations  of  tone. 
It  arose  in  Germany,  at  the  beginning  of  the  sixteenth 
century,  when  artists  drew  upon  tinted  paper,  working 
the  outlines  in  pen  or  pencil  and  putting  in  the  lights  by 
means  of  a  brush  with  white  body  colour.  These  drawings 
had  only  some  three  different  tones,  and  in  order  to  repro- 
duce them  the  wood  cutter  made  a  block  for  each,  one 
for  the  tinted  paper,  one  for  the  lights,  and  one  for  the 
shadows,  and  then  printed  them  successively.  The  art 
was  practised  even  more  extensively  in  Italy,  where  more 
blocks  were  used,  and  more  tones  therefore  produced. 

An  early  attempt  of  this  nature,  very  interesting  as 
being  on  the  borderland  of  aquatint,  can  be  seen  in  the 
Vita  di  Anton  Domenico  Gabbiani  {16^2-1^26),  a  Floren- 
tine painter.  The  Vita  is  followed  by  Raccolta  di  cento 
pensieri  diver  si  de  A.D.G.  fatti  intagliare  in  rame  da 
I.  E.  Hug  ford  pittore  e  suo  descepolo  nel  modo  e  forma 
che  sono  gli  originati,  esistenti  nella  di  lui  collezione  in 
Firenze  (1762).  The  one  hundred  plates  are  in  different 
modes  of  engraving,  printed  in  one  colour,  mostly  in 
varying  shades  of  brown  or  red.  This  Ignazio  Hugford 
was  an  historical  painter,  born  of  English  parents  in  1703 
but  living  in  Florence,  where  he  died  in  1778.  Among 
his  pupils   Cipriani  and  Bartolozzi   worked  as   fellow- 


DEVELOPMENT  OF  COLOUR  PRINTING    55 

students,  and  Horace  Walpole  came  across  him  when  in 
Italy,  as  we  learn  from  a  letter  to  Sir  Horace  Mann,  dated 
October  23rd,  1742:  "I  saw  two  books  (of  drawings) 
that  I  should  now  be  very  glad  to  have,  if  you  could 
get  them  tolerably  reasonable ;  one  was  at  an  English 
painter's ;  I  think  his  name  was  Huckford,  over  against 
your  house  in  via  Bardi ;  they  were  of  Holbein." 

Louis  Bonnet  (1735(43  ?)-93),  whose  name  is  chiefly 
associated  with  the  crayon  manner  of  engraving, 
which  he  claimed  to  have  invented,  also  seems  to  have 
experimented  in  methods  closely  resembling  aquatint. 
In  the  1767  edition  of  Caylus'  Recueil  de  Testes  de 
Caract^re  et  de  Charges  dessin^es  par  Leonard  da  Vinci 
a  signed  frontispiece  and  two  plates  are  interesting 
records  of  his  attempts  in  that  manner. 

As  soon,  however,  as  aquatint  was  discovered  to  be  a 
suitable  and  less  laborious  ^  method  of  rendering  the  wash 
drawings  of  early  or  contemporary  masters  it  was  applied 
to  their  reproduction. 

The  first  of  these  books  published  in  England  in 
which  aquatint  is  to  be  found  is  A  Collection  of  Prints 
after  the  Sketches  and  Drawings  of  the  late  Celebrated 
Giovanni  Battista  Cipriani^  Esq.,  R.A.^  Engraved  by 
Mr  Richard  Earlom,  issued  in  1789  by  Boydell, 
with  plates  in  imitation  of  ink  and  chalk  drawings, 
engraved  in  aquatint  and  stipple ;  some  were  reproduced 
in  two  colours,  showing  that  it  was  possible  to  produce 
the  effect  of  chiaroscuro  by  copperplate  as  well  as  by 

^  In  a  letter  to  Dr  Trusler  printed  by  Mr  Arthur  Symons  (  William  Blake, 
pp.  1 16-9)  Blake  writes,  "  Chalk  Engraving  is  at  least  Six  Times  as  laborious 
as  Aqua  Tinta." 


56  HISTORY  OF  AQUATINT 

wood.  Another  set  of  reproductions,  not  in  aquatint,  is 
John  Chamberlaine's  well-known  Imitations  of  Original 
Drawings  by  Hans  Holbein^  eighty-four  examples  of 
stipple,  printed  in  colours  and  published  in  1792- 1800. 
His  next  book,  Original  Designs  of  the  most  Celebrated 
Masters  of  the  Bolognese,  Roman,  Florentine  and 
Venetian  Schools,  was  first  prepared  for  publication 
in  1796,  and  the  original  title-page  is  dated  1797; 
but  in  181 2  it  was  issued  in  a  complete  edition 
with  the  title-page  of  1797,  Engravings  from  the 
Original  Designs  by  Annibale,  Agostino  and  Ludovico 
Caracciy  affixed  as  a  sub-title.  Of  the  45  plates 
in  the  book  25  are  aquatint,  and  all  are  printed  in 
one  colour  only,  either  sepia,  brown,  indigo  or  Barto- 
lozzi  red.  Bartolozzi  engraved  22  of  the  plates,  F.  C. 
Lewis  9,  P.  W.  Tomkins  4,  G.  Lewis  3,  Pastorini 
3,  Schiavonetti  2,  and  Facius  and  Stephanoff  one 
each.  Lastly  comes  a  superb  book  by  C.  M.  Metz, 
Imitations  of  Ancient  and  Modern  Drawings  from, 
the  Restoration  of  the  Arts  in  Italy  to  the  Present 
Time,  published  in  1798,  though  the  title-page  has  no 
date.  Conrad  Martin  Metz,  born  at  Bonn  in  1755, 
was  an  engraver  and  pupil  of  Bartolozzi  in  London, 
and  probably  executed  all  the  115  plates  him- 
self; a  large  proportion  are  in  aquatint,  though 
stipple  and  etching  are  used  in  others,  and  some  are  in 
a  mixed  process.  Various  inks  are  employed  for  the 
different  plates,  which  are  printed  in  a  single  tone,  as  in 
the  preceding  book,  but  there  are  two  coloured  ones 
of  great  charm,  a  hunting  scene  by  Titian  in  two 
colours,   and     more    notable    still,    a    reproduction    in 


DEVELOPMENT  OF  COLOUR  PRINTING    57 

aquatint  of  a  drawing  of  a  woman  by  Albert  Diirer, 
dated  1500,  which  is  printed  in  three  colours. 

In  this  short  account  of  the  experimenters  in  the 
processes  of  colour  printing  the  name  of  Johann  Gottlieb 
Prestel  (1739- 1808)  cannot  be  omitted.  Like  Ploos, 
Metz  and  Earlom  he  devoted  his  efforts  to  making  the 
works  of  the  old  masters  accessible  to  the  public.  His 
chief  works  are  the  reproduction  of  drawings  from  the 
two  private  collections  of  Gerard  Joachim  Schmidt  and 
Paul  Praun,  the  last-named  having  forty-eight  plates  and 
the  first  thirty.  The  volume  devoted  to  the  Schmidt 
Collection  is  in  the  British  Museum  and  is  entitled 
Dessins  des  meilleurs  peintres  des  Pays  Bas  d^ Allemagne 
et  ditalie  du  Cabinet  de  Monsieur  Gdrard  Joachim 
Schmidt  a  Hambourg,  graves  d'apres  les  originaux  de 
mime  grandeur  par  fean  Thdophile  Prestel,  Peintre, 
1779.  The  plates  include  many  fine  strong  aquatints  in 
the  chiaroscuro  style,  some  in  more  than  one  print- 
ing. Prestel  married  his  pupil  Maria  Catherine  Holl, 
daughter  of  the  engraver  of  that  name,  who  helped 
him  with  some  of  his  best  original  plates,  especially  the 
landscapes.  She  separated  from  him  in  1786  and  came 
with  her  daughter  to  England,  where  she  produced 
some  plates  which  are  etched  with  spirit  and  finished  in 
aquatint  in  a  picturesque  manner.  She  died  in  London 
in  1794,  leaving  some  seventy-three  signed  plates  after 
Italian,  Dutch  and  German  masters. 

These  great  books  of  reproductions  are  worthy 
of  careful  study,  so  different  are  they  from  the  mass 
of  work  on  which  aquatint  was  later  employed  ;  and 
though    the    process    came,    as   we    shall    see,   to    be 


58  HISTORY  OF  AQUATINT 

associated  with  the  literature  of  topography,  costume 
and  the  like,  these  examples  serve  as  a  reminder  that 
it  was  equally  appropriate  to  the  fine  arts,  though  the 
rise  of  water-colour  painting  and  public  taste  both  de- 
manded its  employment  in  the  humbler  sphere  of  book 
illustration. 

In  conclusion  it  may  be  interesting  to  note  that  the 
foundation  plate  in  George  Baxter's  elaborate  colour 
process  was  usually  aquatint.  Before  he  applied  for  his 
patent  in  1835  he  had  printed  solely  from  wood-blocks; 
after  that  date  he  used  the  wood-blocks  only  to  produce 
a  series  of  colours  on  the  impressions  taken  from  a 
preliminary  copper  or  steel  plate,  generally  the  latter, 
engraved  either  in  aquatint  or  mezzotint.  He  was  not 
really  entitled  to  a  patent  for  any  invention,  for  others 
before  him,  notably  Kirkall,  Pond  and  Knapton,  had 
applied  colour  by  means  of  wood-blocks  to  impressions 
from  metal  plates.  His  originality  lay  in  two  points. 
No  one  before  him  had  made  use  of  the  aquatint 
process  in  this  manner ;  and  no  one  had  attempted  the 
printing  in  oil  colours  on  impressions  from  an  aquatint 
plate.  If  a  strong  glass  be  used,  the  aquatint  ground 
of  his  prints  is  obvious  enough,  and  the  revival  of 
interest  in  his  work  affords  ample  opportunity  for  such 
investigation. 


CHAPTER  III 

THE  USE  OF  AQUATINT  IN  FRANCE  AND  THE  AQUATINT 
WORK  OF  GOYA 

In  the  previous  Chapter  we  brought  the  account  of  the 
development  of  colour  printing  abroad  down  to  J.  G. 
Prestel  and  his  reproductions  of  drawings  from  private 
collections ;  we  shall  resume  it  here  with  Fran9ois 
Janinet  {1752-18 13),  who  in  the  early  days  of  the  reign 
of  Louis  XV I.  began  to  employ  the  aquatint  process  in 
a  manner  different  from  that  in  which  we  have  seen  it 
used  in  England.  If  St  Non  and  Le  Prince  actually 
introduced  the  method  in  France,  Janinet  was  certainly 
the  first  Frenchman  to  create  for  it  a  definite  place  in 
the  art  of  engraving  as  practised  in  that  country.  He 
was  not  an  original  artist,  nearly  all  his  work  consisting 
of  reproductions  after  Boucher,  Fragonard,  Lavreince, 
Caresme,  Gravelot,  St  Quentin  and  Hubert  Robert,  but 
he  took  the  pictures  of  these  masters  and  reproduced 
them  in  colour,  blending  the  tints  on  a  foundation  of 
aquatint  by  means  of  a  surprising  technique.  His  early 
plate  l^Operateur  has  the  legend — "grav6  a  I'imita- 
tion  du  lavis  en  couleur  par  F.  Janinet,  le  seul  qui  ait 
trouv6  cette  maniere,"  thus  adding  his  name  to  the 
many  who  aspired  to  the  invention  of  colour  printing 
from  aquatint  plates.     His  portrait  of  Marie  Antoinette, 

D  59 


6o  HISTORY  OF  AQUATINT 

executed  in  1774,  one  of  the  most  celebrated  of  colour 
prints,  has  the  head  retouched  by  hand  in  nearly  all  the 
proofs,  an  indication  that  he  was  not  sufficiently  sure  of 
his  methods  at  that  time  to  trust  to  colour  printings 
alone.  It  is  a  very  fine  work,  marred  by  being  set  in  a 
border  engraved  in  imitation  of  a  gilt  and  marble  frame. 
Another  and  later  effort,  possibly  that  in  which  he 
shows  most  mastery  of  his  art,  is  the  portrait  of  Mdlle. 
Bertin,  the  queen's  dressmaker,  a  small  oval  medallion 
in  which  vivid  portraiture  is  associated  with  obvious 
dexterity  of  execution.  Landscape  came  as  easily  to 
Janinet  as  portraits,  and  his  aquatint  imitations  of  the 
clear  water-colours  of  Ostade  are  particularly  successful. 
His  engraved  work  indeed  covers  a  wide  range  of  sub- 
ject and  interest.  For  the  brothers  Le  Campion,  who 
were  both  engravers  and  printsellers,  aided  by  Guyot, 
Chapuy  and  Roger,  he  did  a  charming  series  of  one 
hundred  and  two  small  circular  views,  entitled  Monu- 
ments de  Paris,  of  extraordinarily  fine  ground  and 
great  delicacy  of  colour.  A  set  was  to  be  seen  in 
London  not  long  since,  priced  at  ;^42.  Another  work, 
very  different  in  character,  was  the  illustration  for 
Le  Vachez's  monthly  journal  Costumes  et  Annales  des 
Grands  Th^dtres  de  Paris,  an  ambitious  attempt  to  give 
representations  of  the  chief  actors  and  actresses,  details 
of  their  life,  an  account  of  first  nights  and  reviews  of 
new  pieces.  The  Le  Vachez  were  printsellers  in  the 
Palais  Royal,  No.  258,  then  the  centre  of  fashion  in 
Paris,  and  dealt  in  the  colour  prints  of  the  day  from  a 
standpoint  commercial  rather  than  artistic ;  their  shop, 
however,  was  the  haunt  of  both  amateurs  and  artists, 


THE  USE  OF  AQUATINT  IN  FRANCE   6i 

many  of  whom  owed  much  to  their  enterprise.  The  con- 
trol of  the  illustrations  was  confided  to  Janinet,  who 
signed  most  of  the  plates. 

Some  twenty-five  years  back,  a  portfolio  full  of  colour 
prints  was  discovered  in  Alsace  which  turned  out  to  be  a 
collection  of  artists'  proofs  of  Janinet's  engravings,  one 
of  which,  L Aveu  difficile,  found  a  place  in  the  Muhl- 
bacher  Collection,  and  at  its  dispersal  realized  £\2Q. 

Janinet's  ambition  at  one  period  extended  beyond 
the  limitations  of  engraving ;  and  had  it  achieved  its 
object,  the  output  of  his  work  would  have  been  much 
more  limited  than  it  was.  The  passion  for  ballooning 
was  then  at  its  height  in  France,  and  Janinet  with  his 
friend  the  Abb6  Miollan  constructed  a  machine  much 
larger  than  any  that  had  been  hitherto  built.  On  the 
day  fixed  for  its  ascension  from  the  Luxembourg 
Gardens,  July  ii,  1784,  the  entrance  fee  to  the  public 
was  fixed  at  £,-^,  but  the  balloon  could  not  be  inflated^ 
the  angry  public  broke  down  the  barriers  and  burned 
the  balloon,  and  for  many  days  after  the  disaster  Janinet 
and  the  Abb^  were  the  victims  of  lampoons  and 
caricatures  of  every  sort.  In  the  end  the  engraver 
returned  to  his  art,  and,  putting  behind  him  this  un- 
fortunate episode  in  his  career,  produced  in  subsequent 
years  his  most  careful  and  elaborate  plates. 

His  system,  like  that  of  his  contemporary  and  rival 
Debucourt,  was  to  prepare  a  foundation  plate  in  aquatint 
which  gave  the  modelling  of  the  design.  This  was 
complete  in  itself,  and  sufficed  for  all  tone  values,  giving 
an  adequate  rendering  of  the  subject  in  monochrome. 
He  then  prepared  several  other  plates  of  the  same  size. 


62  HISTORY  OF  AQUATINT 

each  of  which  was  to  receive  a  separate  colour.  By 
the  most  careful  adjustment  or  registration,  the  marks 
of  which  are  often  to  be  seen  on  French  prints,  these 
plates  were  printed  one  over  the  other,  the  quality  of  the 
result  depending  entirely  upon  the  harmonious  blend- 
ing of  the  colours  by  the  artist  and  the  technical  ability  of 
the  printer  who  aided  him  in  the  handling  of  the  plates. 
Sometimes  Janinet  strengthened  the  aquatint  ground 
by  roulette  work  on  the  copper,  a  practice  occasion- 
ally adopted  by  other  engravers,  both  in  aquatint  and 
mezzotint :  but  it  interferes  with  that  transparency  which 
is  the  charm  of  aquatint,  and  the  plates  of  Debucourt, 
who  in  his  best  days  hardly  resorted  to  it  at  all,  are  in 
consequence  more  brilliant  than  those  of  his  rival. 

Janinet  had  many  pupils,  the  most  important  of 
them  being  Jean  Baptiste  Chapuy  (1760-18.?)  and 
Charles  Melchior  Descourtis  (1753- 1820).  Chapuy, 
as  has  been  mentioned,  helped  Janinet  in  his  Costumes 
des  Th^dtres  de  Paris,  and  when  the  affair  of  the 
Diamond  Necklace  became  public,  executed  a  series 
of  portraits  of  the  actors  in  that  drama.  But  his  most 
entertaining  work  lies  in  the  fourteen  plates  of  Coiffures 
de  Dames  done  for  Depain,  a  hairdresser  in  the  Rue  de 
Cond6,  "  qui  enseignait  I'art  de  coiffer  au  moment  ou 
les  dames  avait  cess^  d'^difier  sur  leur  tetes  des 
labyrinthes  et  des  fregates  pour  adopter  la  coiffure  a 
''espoir  et  la  coiffure  aux  charmes  de  la  liberte."  ^ 

Descourtis,  who,  though  far  below  his  master,  yet 
worked  in  Janinet's  manner  and  with  a  like  delicacy 
in  the  harmony  of  tints,  has  a  far  higher  reputation 
^  Portalis,  Graveurs  du  XVIII.  Sihle. 


THE  USE  OF  AQUATINT  IN  FRANCE   63 

than  Chapuy.  His  best  known  prints  are  a  series  of 
four  :  Foire  de  Village,  Noces  de  Village^  La  Rixe 
and  Le  Tambourin,  after  Taunay.  He  also  did  two 
views  from  water  colours  by  Machy :  Vue  du  Porte  St 
Paul  and  Vue  de  la  Porte  St  Bernard,  as  well  as 
illustrations  to  Paul  et  Virginie  and  to  Don  Quixote, 
after  the  designs  of  Schall.  The  Marquis  de  Varennes, 
a  pupil  of  Descourtis,  who  gave  lessons  in  London 
during  the  emigration,  collected  a  set  of  the  trial 
proofs  of  the  Noces  de  Village,  comprising  the  etched 
outline,  the  same  completed  in  aquatint,  and  each  one 
of  the  successive  colour  impressions  down  to  the  finished 
print,  ten  states  in  all,  showing  the  technical  'com- 
position' of  the  whole  work.  Such  a  collection  is 
most  rare,  as  the  different  stages,  having  no  individual 
artistic  merit,  have  scarcely  ever  been  preserved. 

Louis-Philibert  Debucourt  (175 5- 1832)  "Tun  des 
talents  les  plus  fins  et  les  plus  fran^ais  de  la  seconde 
moiti^  du  XVI 1 1,  si^cle,"  as  Portalis  describes  him, 
began  life  as  a  painter  of  genre  and  domestic  scenes. 
He  had  thus  an  advantage  over  Janinet  in  being  a 
creative  artist  and  not  only  an  engraver  of  the 
works  of  others.  By  an  early  marriage  with  the 
daughter  of  the  sculptor  Mouchy  his  position  in  the 
world  of  art  was  assured,  and  on  the  strength  of  his 
pictures  of  small  subjects  in  the  Flemish  style,  he 
obtained  admission  to  the  Academy  at  the  age  of 
twenty-six.  The  popularity  of  these  studies,  and  no 
doubt  the  example  of  Janinet,  suggested  to  him  the 
possibility  of  their  multiplication  as  colour  prints,  and 
he    very    soon    began    experiments    in    that    direction. 


64  HISTORY  OF  AQUATINT 

Of  the  many  French  engravers  who  used  aquatint  as  a 
foundation  for  their  colour  prints  during  the  short  period 
between  1780  and  181 5  Debucourt  is  the  one  who  is 
best  known  outside  his  own  country,  owing  to  his 
inimitable  representation  of  Parisian  manners  both 
before  and  during  the  Revolution.  To  this  he  brought 
a  keen  intuition  of  the  characteristics  of  his  countrymen, 
which  he  rendered  with  ironical  humour,  a  remarkable 
power  of  grouping  in  composition  and  a  delicate  sense 
of  colour.  In  1786  he  published  Les  detix  Baisers, 
but  his  first  masterpiece  was  the  Menuet  de  la  Maride, 
the  illusive  likeness  of  which  to  an  original  drawing  is  so 
eloquently  described  by  the  Goncourts.^ 

The  following  year  appeared  the  Promenade  de  la 
Galerie  du  Palais  Royal,  the  first  of  the  two  plates  that 
made  his  reputation,  inspired,  so  it  has  been  suggested, 
by  a  sight  of  the  aquatint  engraving  of  Vauxhall  by 
Pollard  and  Jukes,  after  a  drawing  by  Rowlandson. 
Chapuy,  whose  work  has  been  already  mentioned,  was 
the  printer  of  this  famous  scene,  in  which  Debucourt 
reached  once  and  for  all  the  high-water  mark  of  printing 
in  colours.  Few  who  visit  that  great  square  of  garden 
and  buildings  in  its  present  desolation  can  imagine  it 
as  it  once  was,  the  rendezvous  of  the  fashionable  world, 
frequented  at  once  by  the  ^lite  of  Paris,  the  foreigner 
and  the  courtesan,  the  noble  and  the  peasant,  jostling 
one  against  the  other  while  looking  at  the  shops  already 
famous  for  the  frivolities  so  long  to  be  associated  with 
the  name  of  Palais  Royal.  To  that  mixed  society,  soon 
to  be  swept  away  by  the  tide  of  the  Revolution,  with  its 

*  Lart  du  XVIII.  Silcle.    E.  and  J.  de  Goncourt.     Paris,  1873-74. 


THE  USE  OF  AQUATINT  IN  FRANCE   65 

pictures  of  manners,  its  variety  of  costume,  its  portrait- 
groups,  bizarre,  elegant,  grotesque,  Debucourt  brought 
the  vision  of  an  artist  and  the  subtle  observation  of 
a  student  of  human  nature.  It  was  not  till  1792  that  he 
drew  the  pendant  to  it  in  the  Promenade  publique  des 
Jardins  du  Palais  Royal.  More  complicated  in  com- 
position, the  scene  is  perhaps  even  more  carefully  studied ; 
the  individuals,  as  well  as  the  types,  stand  out  with 
greater  distinctness,  the  detail  is  almost  over  elaborate* 
and  the  costumes  are  rendered  with  insight  into  the 
charm  of  fashion  as  well  as  its  absurdity.  In  these  two 
plates  the  artist  triumphed  over  all  the  technical  diffi- 
culties of  colour  printing  and  attained  to  a  perfection 
that  successive  engravers  could  only  hope  to  imitate, 
never  to  surpass. 

The  Mercure  de  France  of  June  1787  had  announced 
the  publication  of  the  Promenade  du  Palais  Royal  at  the 
price  oi  £\2\  in  1881  a  fine  impression  fetched  ;^63, 
and  one  of  the  Promenade  publiqtte  only  a  little  less. 
In  the  six  years  that  separated  the  first  of  the  Palais 
Royal  plates  from  the  second,  Debucourt  executed  all  the 
other  plates  on  which  his  great  reputation  rests  : — the 
Matinee  du  Jour  de  V An,  the  File  de  la  Grand' maman^ — 
a  work  of  great  and  intimate  charm  for  which  he  painted 
the  picture  before  making  the  print, — the  Noces  au 
Chdteau,  which  forms  a  pair  to  the  Menuet  de  la  Marine, 
and  La  Rose  and  La  Main,  two  plates  that  are  marvels 
of  delicate  and  superb  execution.  He  manipulates  the 
five  or  six  separate  plates  that  go  to  the  making  of  the 
finished  print  as  easily  as  a  juggler  does  his  balls,  and 
with  the  sense  of  difficulties  overcome  all  appearance  of 


66  HISTORY  OF  AQUATINT 

the  technique  of  the  engraver  disappears,  leaving  the 
freshness  and  transparency  of  a  water-colour  drawing.  But 
Debucourt  made  many  and  careful  experiments  with  every 
plate  before  reaching  perfection,  and  the  rare  prints  in 
black  pulled  at  the  experimental  stages  of  his  work  show 
him  to  have  been  a  laborious  craftsman,  as  well  as 
a  master  of  aquatint. 

With  the  advent  of  the  Revolution  Debucourt  applied 
his  art  to  its  service,  and  in  1791  produced  the  remarkable 
composition  known  as  L' Almanack  national,  which  he 
dedicated  to  *  the  friends  of  the  Constitution.'  Having  no 
political  opinions  himself,  he  served  every  party  with 
equal  readiness,  and  became  the  artist  of  the  Directoire 
and  the  Empire,  as  lightly  as  he  had  been  that  of  the 
Revolution.  But  the  best  of  his  work  ends  with  the 
eighteenth  century.  In  the  general  debacle  that  followed 
the  great  upheaval  of  society,  his  pencil,  hitherto  subtle 
and  restrained  in  the  portraiture  of  manners,  sank  into 
buffoonery  and  caricature  ;  the  artist  became  the  artisan, 
ceasing  to  select  his  material,  engraving  everything 
alike,  horses,  battle-scenes,  landscapes,  in  short  all  the 
mixed  and  inferior  work  for  which  he  was  offered  a  price. 
His  exquisite  draughtsmanship  also  underwent  a  change 
for  the  worse,  for  he  introduced  into  his  technique  a 
mixture  of  processes  which  greatly  injured  the  result, 
and  only  a  rare  plate  like  that  of  the  Cafd  Frascati,  taken 
from  a  sketch  made  at  the  height  of  its  fashion  during 
the  Empire,  serves  as  a  reminder  of  the  greatness  of  his 
former  achievement.  He  devoted  his  old  age  to  inter- 
preting the  works  of  Carle  Vernet,  who  was  candid 
enough  to  realize  that  his  reputation  rested  largely  on 


<   Q 

r  ■*-' 


THE  USE  OF  AQUATINT  IN  FRANCE   67 

the  popularity  of  his  engraver.  "  Croyez  au  veritable 
attachement  que  je  porte  k  votre  personne,"  he  says  in  a 
letter  to  Debucourt,  "et'a  la  veneration  reconnaissante 
que  j'ai  pour  votre  talent,  je  dis  reconnaissante,  car  sans 
vous  mon  faible  savoir-faire  serait  rest^  dans  un  cercle 
6troit  dont  vous  avez  centuple  la  circonference."  In  the 
early  part  of  his  career  Debucourt  lived  for  twelve  and 
a  half  years  in  the  Palais  Royal,  where  he  brought  up 
the  only  child  of  a  marriage  which  had  lasted  but  fifteen 
months.  Of  this  son,  who  died  at  the  age  of  eighteen, 
just  as  he  was  developing  artistic  talent,  Debucourt  has 
left  a  charming  aquatint  portrait,  a  print  of  which  is  now 
very  scarce.  Not  long  afterwards  he  married  Mdlle. 
Marquant,  the  aunt  of  his  pupil  Jazet,  and  in  his  later 
years  took  with  enthusiasm  to  country  life  in  the 
suburbs  of  Paris.  He  ended  his  long  life  in  the  house 
of  Jazet,  to  whom  we  owe  the  careful  preservation  of 
the  experimental  prints  that  have  come  down  to  us,  as 
well  as  the  record  of  much  that  is  valuable  relating  to 
his  life. 

Between  Debucourt  and  the  engravers  in  colour  who 
followed  him  there  is  all  the  difference  that  lies  between 
the  work  of  a  creative  artist  and  that  of  the  experienced 
craftsman  who  interprets  the  creations  of  others.  A 
brief  mention  of  the  most  important  of  them  must 
suffice,  especially  as  their  prints  are  rarely  to  be  seen  in 
this  country.  The  great  period  of  colour  printing  in 
France  can  only  indeed  be  fairly  studied  in  the  national 
collections  in  Paris. 

Laurent  Guyot  (d.  1756)  began  life  as  an  engraver, 
but,    lacking    the   talent   necessary  to    success    in   pure 


68  HISTORY  OF  AQUATINT 

engraving,  he  betook  himself  to  printing  in  colours,  and 
executed  some  charming  miniature  work  after  Fragonard, 
that  artist  so  essentially  French,  whose  delicate  and 
fantastic  imaginings  were  rendered  by  a  palette  equally 
light  and  appropriate.  The  success  of  the  colour 
engraving  of  this  period  was  indeed  largely  due  to  the 
character  of  the  art  of  the  time,  to  which  aquatint  was 
especially  suitable,  and  to  the  French  masters  of  the 
eighteenth  century  in  general,  whose  work  was  a 
constant  spur  to  the  engraver.  Guyot's  prints  gain 
a  certain  originality  from  his  preference  for  round 
and  oval  forms.  He  did  two  sets  of  illustrations  for 
Paul  et  Virginie,  a  round  one  for  the  octavo  edition, 
and  another  for  a  duodecimo  edition.  Another  well- 
known  series  is  the  set  of  oval  medallions  entitled 
Evdnements  de  la  Revolution.  These  are  perhaps  his 
best  efforts,  and  as  book  illustrations  are  specially 
interesting,  for,  in  consequence  of  the  number  of  plates 
used  by  French  engravers  for  their  colour  work,  the 
aquatint  process  was  much  less  frequently  applied  to 
books  in  France  than  in  England.  Guyot  also  engraved 
the  Cris  et  Costumes  de  Paris  after  the  designs  of 
Watteau  de  Lille,  a  delightful  record  of  that  painter  of 
pre- Revolution  costume. 

Antoine  Fran9ois  Sergent  (i 751- 1847)  was  one 
among  many  artists  who  became  embroiled  in  French 
politics  during  the  Revolution,  and  is  perhaps  better 
known  for  his  violent  adoption  of  the  most  sanguinary 
methods  of  the  time  and  for  the  romance  of  his  life  than 
for  the  small  quantity  of  really  fine  work  that  he 
achieved.     A  native  of  Chartres,  he  learnt  engraving  in 


THE  USE  OF  AQUATINT  IN  FRANCE   69 

Paris  under  Augustin  de  St  Aubin,  but  returned  to  his 
birthplace  to  be  near  Emira  Marceau,  sister  of  the 
General  of  that  name,  whom  he  had  loved  from  child- 
hood, and  who  had  been  married  at  the  age  of  fourteen 
to  M.  de  Cernel,  a  brutal  and  jealous  husband.  Emira 
finally  escaped  to  a  convent,  where  she  remained  till 
the  death  of  her  husband  about  1789  enabled  her  to 
become  the  wife  of  Sergent.  The  history  of  this  tragedy 
gave  rise  to  a  curious  incident  more  to  the  credit  of 
Sergent's  dramatic  instinct  than  to  his  taste  as  a  lover. 
Sergent,  who  had  long  pursued  Restif  de  la  Bretonne 
with  a  view  to  illustrating  his  works,  wrote  him  a  long 
and  eloquent  account  of  the  charms  of  the  lady, 
describing  the  unthinkable  brutality  of  the  husband  and 
the  hopeless  passion  of  the  youth  who  worshipped  afar 
while  encouraging  the  wife  to  remain  with  her  husband. 
No  names  were  mentioned,  and  the  narrative  was 
obviously  intended  for  Restif  s  use  as  an  author,  but  in 
the  end  Sergent  was  made  to  admit  that  he  was  the  youth 
in  question.  In  order  to  provide  opportunities  for  their 
intercourse  Sergent  had  given  Emira  instruction  in 
engraving,  and  after  she  became  his  wife  she  helped  him 
with  his  aquatints,  besides  doing  independent  work  in 
colours  and  engraving  buttons,  a  humble  branch  of  art 
which  many  more  important  artists  were  not  above 
practising.  She  did  some  plates  in  Sergent's  historical 
series  entitled  Collection  de  Portraits  des  grands  Hommes, 
des  Femmes  illustres  et  Sujets  m^morables  de  France 
(1787-9),  which  was  published  by  Le  Vachez  in  conjunc- 
tion with  Blin,  one  of  the  great  colour  printers  of  the  day. 
Ride  also  did  some  of  the  plates  for  this  work,  while 


70  HISTORY  OF  AQUATINT 

Sergent  co-operated  with  Rid6  and  Alix  in  the  Reckerches 
sur  les  Costumes  et  les  Theatres  de  toutes  les  Nations. 
After  executing  a  few  small  prints  of  events  during  the 
Revolution,  Sergent  laid  aside  art  for  politics  and  was 
subsequently  associated  with  some  of  the  most  bloody 
events  of  the  period.  During  this  time  he  gained  the 
sobriquet  of  '*  Sergent  I'Agate  "  from  having,  it  was  said, 
acquired  for  a  trifling  sum,  a  valuable  antique  cameo 
found  on  one  of  his  victims  ;  the  charge  was  never 
proved,  but  his  reputation  was  permanently  tarnished 
by  the  story.  Exiled  by  Bonaparte  he  went  to  live  in 
Italy,  where  he  again  took  to  engraving.  His  wife 
shared  all  his  wanderings,  and  the  devotion  of  each  to 
the  other  seems  to  have  survived  all  the  fortunes  of 
Sergent's  long  and  varied  career.  She  died  thirteen 
years  before  her  husband  at  the  age  of  eighty,  and 
Sergent,  who  lived  to  ninety-six,  spent  the  last  years  of 
his  life  in  trying  to  free  himself  from  the  accusations  of 
his  enemies  and  in  retracing  with  the  pen  of  his  old  age 
the  portraits  of  his  wife  drawn  in  youth  with  such 
passion,  and  under  circumstances  so  different. 

With  Pierre  Michel  Alix  (1762- 1817)  we  may  bring 
to  a  conclusion  this  short  account  of  the  French  School 
of  aquatint  engravers  in  colour.  With  one  or  two 
exceptions  the  reputation  of  Alix  is  based  more  on  the 
fact  that  he  applied  his  art  chiefly  to  popular  portraiture 
than  on  the  quality  of  that  art  itself.  His  small  oval 
portraits  of  his  contemporaries  are  very  numerous  and 
may  frequently  be  found  in  the  shops  of  London 
printsellers.  He  chose  his  subjects  without  respect  of 
politics  or  persons,  and  from  1789  to  the  Restoration  we 


THE  USE  OF  AQUATINT  IN  FRANCE   71 

find  a  whole  gallery  of  portraits  that  mark  the  changing 
fortunes  of  France.  Beginning  with  Marie  Antoinette,  of 
whom  he  made  one  of  the  finest  as  well  as  rarest  of  existing 
colour  portrait  prints,  with  the  advent  of  the  Terror  he 
destroyed  the  work  that  might  have  compromised  him,  if 
discovered,  and  painted  instead  Marat  and  Charlotte 
Corday ;  later  still,  with  the  downfall  of  Robespierre, 
he  passed  on  to  the  triumph  of  the  Republic  and  the 
Directorate,  then  to  portraits  of  the  three  Consuls  and 
of  Napoleon,  and  ended  with  plates  commemorative  of 
the  entry  of  Louis  XVIII.,  and  the  birth  of  the  Due 
de  Berry. 

There  is  a  copy  in  the  British  Museum  of  the 
Recherches  sur  les  Costumes  et  sur  les  Theatres  de  toutes  les 
Nations  tant  anciennes  que  modernes,  Paris,  1790,  with 
aquatint  illustrations  by  Alix  after  drawings  by  Ch^ry. 
The  colour  of  the  plates  is  soft  and  delicate,  the 
effect  of  the  dust  ground  being  very  different  from  that 
which  results  from  the  more  open  grain  of  the  spirit 
ground.  He  seems  to  have  undertaken  a  series 
of  plates  in  illustration  of  Don  Quixote,  for  a  letter  is 
extant  shewing  that  he  received  £2^  for  the  third  plate 
of  the  series,  but  there  is  no  record  of  the  completion  of 
the  set.  Alix  also  executed  a  series  of  oval  portraits  of 
the  French  classical  writers,  and  it  is  by  these  empty  and 
commonplace  prints  that,  much  to  the  damage  of  his 
reputation,  he  is  chiefly  known  in  England.  It  is, 
however,  by  the  portraits  of  Marie  Antoinette,  Madame 
St  Aubin,  Barras  and  the  Consuls  that  he  must  be 
judged,  and  these  place  him  in  the  first  rank  of  colour 
engravers. 


72  HISTORY  OF  AQUATINT 

Series  of  medallion  portraits  similar  to  those  of  Alix 
were  fashionable  throughout  the  period  of  the  Revolu- 
tion, and  both  Louis  Jean  Allais  and  his  wife  Ang^lique 
Briceau,  the  daughter  of  an  engraver,  executed  a  con- 
siderable number  in  aquatint.  Her  prints  were  of  the 
same  size  and  type  as  those  of  Alix,  but  have  even  less 
distinction  in  the  rendering  of  character.  The  most 
effective  of  all  the  medallion  portraits  of  the  Revolution 
are  probably  those  of  Villeneuve,  also  an  engraver  of 
aquatints  printed  in  colours. 

Whilst  on  the  subject  of  aquatint  as  applied  to 
portraiture,  we  must  not  omit  to  mention  the  miniature 
work  of  Jean  Baptiste  Grateloup  (1735-1817),  which  is 
among  the  curiosities  of  engraving  in  black  and  white. 
These  prints  are  the  outcome  of  a  mixed  process,  the 
secret  of  which  has  never  been  made  public,  for  it  was 
confided  by  Grateloup  to  his  nephew,  who  studied  under 
him,  on  the  understanding  that  it  should  not  be  revealed. 
The  plates  were  said  to  be  steel,  and  appear  to  have 
had  a  basis  of  aquatint  with  additions  in  mezzotint  or 
dry  point.  Grateloup,  whose  early  taste  for  printing  and 
sculpture  had  secured  for  him  a  reputation  among  the 
artists  of  his  day,  was  at  the  head  of  a  business  in 
precious  stones  and  accustomed  to  design  personal 
ornaments  for  his  customers,  which  were  executed  by 
jewellers  under  his  direction.  He  was  very  short-sighted, 
and  thus  better  able  to  deal  with  the  microscopic 
detail  of  his  miniature  portraits  than  if  he  had  had 
ordinary  vision  ;  but  at  the  age  of  thirty-five  he  de- 
veloped cataract,  and  had  to  lay  aside  engraving.  His 
first  portrait  is  dated  about  1765,  and  his  total  output  of 


THE  USE  OF  AQUATINT  IN  FRANCE    73 

nine  was  achieved  at  odd  times  in  the  intervals  of  busi- 
ness during  the  next  five  or  six  years.  These  plates 
include  one  of  F6n^lon,  one  of  Dryden  after  Kneller, 
and  two  of  Bossuet  after  Rigaud,  the  latter  being  the 
only  ones  with  which  he  himself  was  really  satisfied. 
The  tracery  of  the  lace  on  Bossuet's  dress  is  a  marvel 
of  execution,  and,  as  miniature  work,  the  prints  stand 
alone  in  the  history  of  engraving.  A  strong  glass 
clearly  reveals  the  presence  of  aquatint,  though  its 
use  by  Grateloup  on  these  plates  has  been  sometimes 
disputed. 

From  the  earliest  times  aquatint  was  frequently  used 
in  combination  with  etching.  As  a  rule,  however,  mixed 
methods  in  any  branch  of  art  have  not  proved  themselves 
desirable,  for  the  eye,  accustomed  to  the  scope  and  limita- 
tions of  one  process,  is  distracted  by  passing  to  another 
with  a  different  object  and  method  of  attainment.  And 
in  a  general  way  aquatint  is  no  exception  to  this  rule, 
for  the  pure  aquatint  plate,  where  form  is  given  by  varia- 
tion of  tone  only,  is  a  more  satisfactory  thing  than  one  in 
which  the  outline  of  the  subject  is  first  etched.  Never- 
theless some  artists  combined  the  two  with  ingenuity 
and  success,  and  the  practice  was  particularly  useful 
when  the  original  artist  did  not  do  his  own  aquatint 
work  on  the  copper,  for  in  that  case  he  sometimes  etched 
the  outline,  and  so  left  less  to  the  interpretation  of  the 
copying  engraver. 

One  man,  however,  raised  the  combination  of  etching 
with  aquatint  to  a  position  of  surpassing  merit.  Fran- 
cisco Goya  (1746- 1 828)  will  always  remain  the  master 
of  mixed  aquatint  engraving,   and   his  work  should  be 


74  HISTORY  OF  AQUATINT 

carefully  studied  by  all  interested  in  the  legitimate 
scope  of  aquatint  engraving.  He  stands,  sublime 
and  solitary,  as  much  apart  from  other  men  in  his 
engraved  work  as  in  his  pictures ;  so  Spanish  in  his  out- 
look as  to  be  almost  incomprehensible,  except  to  the 
few  whose  instinct  for  genius  at  its  highest  triumphs 
over  the  limitations  of  time  and  country.  A  Court 
favourite  and  painter  of  princes,  but  more  surely 
in  sympathy  with  the  people,  to  whom  by  birth  he 
belonged,  his  independence  of  character  and  insight 
into  the  springs  of  human  nature  made  him  the  satirist 
alike  of  high  and  low.  The  romance  of  his  life,  with  its 
adventures  and  gallantries ;  the  boldness  with  which  he 
attacked  the  Inquisition,  from  which  he  narrowly  escaped, 
and  the  vices  of  the  Court  to  which  he  was  attached ; 
the  force  and  strangeness  of  his  style — all  have  made 
him  a  figure  tantalizing  to  discuss  and  difficult  to  in- 
terpret. None  of  his  many  critics  have  satisfactorily 
decided  whether  he  was  in  the  main  a  humanitarian 
attacking  fanaticism  and  superstition,  a  freethinker 
sharing  in  the  dissoluteness  of  a  corrupt  age  and 
country,  a  Titan  laughing  at  the  race  of  mortals,  or 
a  superb  artist  whose  imagination  played  impartially 
with  the  varied  material  of  life.  Theophile  Gautier, 
alone,  has  had  the  courage  to  say  that  the  meaning  and 
moral  of  his  work  remains  in  obscurity.  In  his  over- 
whelming imagination  he  possessed  an  equipment  that 
would  have  ensured  the  reputation  of  a  dozen  great 
artists,  and  in  his  technical  dexterity  a  sureness  of  hand 
that  made  it  a  matter  of  indifference  with  what  tools  or 
what  materials  he  worked. 


THE  USE  OF  AQUATINT  IN  FRANCE   75 

It  was  in  1793,  but  a  short  time  after  the  discovery 
of  the  aquatint  process,  that  Goya  began  Los  Caprichos, 
a  series  of  seventy-two  (eighty  ?)  plates  in  etching  and 
aquatint,  which  were  produced  between  1793(4)  and 
1769(7).  He  was  then  nearly  fifty  years  of  age,  and 
the  output  of  his  work  was  already  vast,  both  in  char- 
acter and  amount.  Designs  for  tapestries,  frescoes  and 
religious  pictures  in  churches  and  convents,  popular 
scenes  from  everyday  life,  portraits  of  nobles  and  great 
ladies,  all  had  been  poured  forth  with  the  stamp  of  his 
astounding  personality.  The  same  qualities  of  violence 
of  conception  and  cruelty  of  execution,  with  here  and 
there  gleams  of  undeniable  beauty,  even  of  charm,  that 
characterize  the  majority  of  his  paintings  are  seen  also 
in  his  engraved  work.  The  Caprices  show  humanity  in 
its  most  brutal  aspects,  and  were  undoubtedly  a  bitter 
satire  on  the  corruption  of  the  Church  and  the  intrigues 
of  the  Court,  in  which  he  spared  neither  Charles  IV.  nor 
Maria  Louisa  and  her  favourite  Godoy,  nor  the  Duchess 
de  Bonavente,  with  each  and  all  of  whom  his  own 
relations  had  been  of  the  most  intimate  nature.  Goya 
knew  better  than  to  leave  any  key  for  the  identification 
of  the  plates,  and  the  legend  that  he  wrote  for  each 
was  a  careful  indication  that  its  subject  was  applicable  to 
humanity  as  a  whole.  But  the  irony  and  the  portraiture 
were  so  obvious  that  the  Inquisitors  were  soon  at  work 
tracking  out  the  allusions  to  personal  and  political 
intrigues,  when  Don  Carlos,  whether  ignorant  of  their 
real  import  or  wise  enough  to  overlook  it,  ordered  the 
painter  to  make  over  to  him  the  whole  of  the  plates  as 
executed  by  royal  command. 


76  HISTORY  OF  AQUATINT 

Another  series  of  eighty-two  plates,  the  Desastres  de 
la  Guerra,  by  many  considered  the  most  important 
etched  work  of  Goya,  dates  probably  from  1810,  the 
period  of  the  occupation  of  Spain  by  the  French.  They 
were  undoubtedly  suggested  to  the  artist  by  the  sight  of 
his  own  country  under  foreign  government  during  the 
short  reign  of  Joseph  Bonaparte,  but  the  treatment  is  so 
universalized  that  there  are  no  details  to  indicate  any 
particular  national  disaster.  They  convey  to  the 
spectator  the  nightmare  of  war  seen  in  the  blackness 
and  horror  of  dreams,  and  possess  that  mixture  of 
fascination  and  repulsion  which  pervades'  so  much  of 
the  painter's  work.  They  constitute  indeed  the  most 
impassioned  diatribe  against  war  ever  formulated  by 
pen  or  brush,  and  the  very  fact  that  they  are  removed 
from  the  individual  and  the  particular  lifts  them  into  the 
sphere  of  the  epic.  Goya,  who  had  lived  quietly  abroad 
during  the  expulsion  of  the  French  from  Spain,  dared  not 
excite  his  indignant  countrymen  by  the  issue  of  these 
plates;  after  his  death,  they  were  forgotten,  nor  did 
they  see  the  light  until  1863,  when  the  Academy  of 
San  Fernando  brought  out  an  edition  of  eighty  plates, 
the  two  in  Lefort's  collection  not  being  included. 
In  twenty-eight  of  them  there  is  no  aquatint  what- 
ever, and  where  it  is  employed  the  ground  is  some- 
what heavy  and  the  contrasts  are  harsh  and  without 
the  subtle  gradations  of  tone  found  in  the  three  other 
series. 

The  eighteen  plates  of  the  Proverbios,  or  Suenos 
(dreams)  as  Goya  himself  entitled  them,  are  in  a  similar 
though   more   obscure   vein   of  satire    to   that   of   the 


w 


THE  USE  OF  AQUATINT  IN  FRANCE    ^^ 

Caprichos,  and  though  executed  probably  between  1810 
and  181 5,  were  not  issued  till  1864  by  the  Academy  of 
San  Fernando. 

Lastly  comes  the  series  of  the  Tauromaquia, 
consisting  of  thirty-three  plates  in  illustration  of  the 
national  sport  of  Spain.  In  these  prints,  which  are 
marvels  of  composition,  Goya  shows  his  intimate 
acquaintance  with  the  habits  and  movements  of  horses 
and  bulls,  an  acquaintance  gained  personally  in  his 
youth,  when  his  enthusiasm  for  physical  prowess  led 
him  to  join  a  wandering  troupe  in  order  to  raise  money 
for  his  sojourn  in  Rome.  He  himself  issued  a  small 
number  of  impressions  in  181 5,  a  second  edition  was 
published  by  the  Calcografia  Nacional  in  1855,  with  the 
portrait  of  Goya  from  the  Caprichos^  and  about  1876  they 
reappeared  in  a  French  edition  with  seven  additional 
plates. 

Unlike  the  work  of  the  French  School  of  colour 
printers,  Goya's  engravings  can  be  studied  both  at  the 
British  Museum  and  the  National  Art  Library,  and  the 
bibliographical  detail  of  the  various  impressions  neces- 
sary to  the  collector  will  be  found  in  the  books  by 
Hoffmann,  Lefort,  Beraldi  and  others  mentioned  in  the 
appendix  containing  the  list  of  authorities  consulted. 


CHAPTER  IV 

THE  RISE  OF  WATER-COLOUR  PAINTING  AND  THE 
TOPOGRAPHICAL    DRAUGHTSMAN 

Much  has  been  written  of  the  rise  of  water-colour 
painting,  of  its  early  exponents,  and  the  rich  develop- 
ment of  its  later  schools,  too  often,  however,  accompanied 
by  unnecessary  depreciation  of  the  "  tinted  drawings " 
which  were  the  precursors  of  paintings  in  transparent 
colour.  It  will  not  be  amiss  if  the  student  of  aquatint  is 
led  to  an  appreciation  of  these  drawings,  and  he  can 
have  no  pleasanter  task  than  to  wander  round  the  South 
Kensington  Galleries,  taking  as  his  guide  Samuel 
Redgrave's  Descriptive  Catalogue  of  the  Historical 
Collection  of  Water- Colour  Paintings  in  the  South 
Kensington  Museum  (1877).  Art  critics  have  multiplied 
since  his  day,  but  his  lucid  and  attractive  sketch  of  the 
evolution  of  landscape  art  from  topography,  and  the 
direct  use  of  local  colour  from  an  under  wash  of  neutral 
tint,  has  yet  to  be  superseded. 

There  are  three  technical  processes  connected  with 
painting  which  may  be  very  briefly  stated.  In  oil 
painting  opaque  pigments  are  used,  the  light  which  pro- 
duces colour  sensation  being  reflected  from  the  surface 
of  the  paint.     In  water-colour  painting,  properly  so  called, 

transparent  colours  are  used,  and  in  this  case  the  light, 

78 


RISE  OF  WATER-COLOUR  PAINTING     79 

passing  first  through  the  colour,  is  reflected  back  from 
the  material  on  which  that  colour  is  spread  and  passes 
again  through  it  to  the  eye.  A  third  process  may  be 
described  as  opaque  painting  in  water  colours,  and  under 
the  names  of  gouache  and  body  colour  has  always 
existed,  and  preceded  the  invention  of  painting  in  oils. 
With  the  latter  we  have  nothing  to  do  here,  but  some  of 
the  earliest  water-colour  artists,  William  Taverner,  an 
amateur,  who  died  in  1772,  George  Barret,  R.A.,  the 
elder,  who  died  in  1 784,  Paul  Sandby  and  others,  used 
tempera  or  body  colour  for  painting  their  landscapes. 
Aquatints  even  did  not  always  escape  this  usage,  for 
certain  of  Paul  Sandby's  Windsor  series  of  drawings, 
coloured  by  hand  as  English  aquatints  always  were,  show 
washes  of  body  colour. 

Most  of  the  delicate  sketches  of  the  draughtsmen  in 
the  last  half  of  the  eighteenth  century,  however,  were 
made  with  pigments  ground  in  water,  that  is  to  say 
with  transparent  colours  and  without  the  addition  of 
white  or  body  colour.  In  the  earliest  times  they  were 
in  monochrome,  and  as  such  are  sometimes  named 
chiaroscuro  drawings.  To  the  outline  made  either  with 
pencil  or  with  a  reed  pen  and  ink  washes  of  grey  or 
brown  were  added,  giving  the  forms  in  light  or  dark  but 
in  one  colour  only,  most  often  in  Indian  ink.  In  the 
next  stage  a  sense  of  aerial  perspective  was  obtained  by 
using  two  colours,  brown  and  grey,  and  treating  the 
near  objects  with  the  warmer  and  the  distant  with  the 
cooler  tint.  Then  came  a  third  stage,  in  which  a  few 
local  colours  were  somewhat  tentatively  added  to  the 
ground   already   prepared   with   a   neutral    tint.      This 


8o  HISTORY  OF  AQUATINT 

period  was  ot  considerable  duration  and  includes  the 
most  attractive  of  the  "stained"  or  "tinted"  drawings 
as  they  were  classified  in  the  early  catalogues  of  the 
Royal  Academy.  They  have,  it  is  true,  been  often 
likened  to  coloured  prints,  and  there  is  some  foundation  for 
the  analogy,  though  hardly  in  the  sense  of  disparagement 
generally  implied.  The  common  ground  of  similarity 
may  be  gathered  from  the  process  of  producing  a  finished 
aquatint  print  described  in  the  first  chapter.  But 
we  may  repeat  here  that  in  both  cases  the  process  was  a 
double  one  :  in  the  first  the  artist  produced  his  shaded 
drawing  in  a  neutral  tint  and  then  added  to  this  a  few 
transparent  colours,  in  the  second  the  printer  gave  the 
forms  of  light  and  dark  and  the  hand-colourer  gave  the 
local  tints  in  transparent  washes  ;  and  when  three  colours 
were  used  in  printing  an  aquatint,  the  method  followed 
that  employed  by  Cozens  and  most  of  his  contemporaries 
in  suggesting  by  neutral  tints  the  general  scheme  of  light 
and  shade.  The  groundwork  in  the  aquatint,  as  in  the 
drawing,  was  laid  in  two  or  three  tints — a  brown  for  the 
foreground,  a  green,  brown  or  mixture  of  blue  and  brown 
for  the  middle  distance,  and  a  blue  tint  for  extreme 
distance  and  sky.  The  draughtsmen  who  practised 
the  stained  drawing  in  its  simplest  form,  and  whose  work 
we  come  across  as  having  been  engraved  in  aquatint  are 
William  Gilpin  (1724- 1804);  Paul  Sandby,  R.A.  (1725- 
1809);  Thomas  Malton  (1726- 1 801) ;  Samuel  H.Grimm 
(1734-1794);  William  Pars,  A. R. A.  (1742-1782) ;  John 
Cleveley  (1745-1786);  John  Webber,  R.A.  (1752-1793); 
and  Thomas  Rowlandson  (1756- 1827).  The  more  elabo- 
rate of  these  drawings  came  to  be  known  as  'tinted,' 


a 

^i 

M 

•« 

/!: 

V 

;  ')■ 

o 

^ 

z 

\-' 

:^ 

^ 

RISE  OF  WATER-COLOUR  PAINTING     8i 

but  they  differ  from  *  stained '  drawings  only  in  having 
more  local  colour  added  transparently  to  the  grey  ground. 
In  the  work  of  John  Cleveley  (1745-1786) ;  Robert 
Cleveley  {d.  1809)  ;  Thomas  Malton,  junior  (1748- 1804), 
and  the  later  work  of  Edward  Dayes  {d.  1804)  will 
be  found  good  examples  of  the  tinted  drawing  which 
will  show  the  link  it  forms  between  the  stained 
drawing  and  the  true  water-colour  painting.  The  work 
of  each  of  these  artists  is  represented  in  aquatint  either 
in  single  prints  or  in  the  form  of  book  illustration. 
Finally  came  the  transition  from  the  tinted  drawing  to 
the  water-colour  painting  proper — a  transition  charac- 
terized by  the  use  of  true  local  colour  direct,  without 
the  previous  groundwork  of  a  neutral  tint.  This  transi- 
tion took  a  long  time  to  effect,  even  when  the  shadow 
tint  or  groundwork  had  come  to  be  composed  of  three 
tints,  as  was  frequently  the  case  towards  the  end  of  the 
progress  made  by  English  water  colour  from  monochrome 
through  the  stage  of  neutral  tints  to  full  local  colour. 
Very  gradually  was  the  shaded  tint  disused,  and  though 
J.  R.  Cozens  (i  752-1799),  in  his  later  drawings,  would 
seem  to  have  almost  entirely  freed  himself  from  it, 
emancipation  from  a  ground  tint  is  habitually  first 
associated  with  the  names  of  Girtin  and  Turner. 

The  ready  acceptance  of  aquatint  engraving  was 
largely  due  to  its  facility  and  accuracy  in  the  rendering 
of  water-colour  paintings,  and  the  relation  between 
them  cannot  be  better  expressed  than  in  the  words  of 
W.  H.  Pyne,^  when  writing  of  Varley's  Treatise  on 
the  Principles  of  Landscape  Design^  with  General  Obser- 

'  Somerset  House  Gazette,  vol.  i.,  On  Painting  in  Water  Colours. 


82  HISTORY  OF  AQUATINT 

vations  and  Instructions  to  Young  Artists^  illustrated 
with  sixteen  highly  finished  views; — *' Mr  Varley  has 
designed  a  series  of  compositions  for  the  instruction 
of  amateurs,  which  are  engraved  by  Mr  George 
Lewis  with  strict  adherence  to  the  style  of  the 
master.  These  are  executed  in  aquatinta,  a  species 
of  engraving  eminently  calculated  for  imitating  that 
flatness  of  tint,  or  distinct  massing  of  light  and  shadow, 
which  render  the  works  of  Mr  Varley  so  truly  pre- 
ceptive;  and  here  it  may  be  observed,  that  amateurs, 
who  wish  to  attain  to  those  indispensable  qualities  in 
landscape  drawing,  flatness  of  washing,  and  distinctive- 
ness of  masses,  cannot  adopt  a  readier  method  than  by 
carefully  copying  from  the  best  aquatinta  prints ;  for  the 
process  of  that  style  of  engraving  lays  the  grounds  so  flat, 
so  even,  so  distinctly,  and  preserves  the  lights  so  sharp  and 
clear,  which  is  so  difficult  in  drawing,  unless  wrought 
with  great  care,  that  the  practice  may  be  urged  as  the 
very  best  means  of  preserving  the  lights  with  sparkling 
effect  and  avoiding  that  careless  execution  which  is  too 
common,  upon  the  presumption  that  such  lights  may 
be  obtained  by  taking  them  out  by  a  wet  pencil  and 
bread." 

The  connection  between  aquatint  engraving  and 
water-colour  drawing  then  is  so  close  that  we  must 
devote  a  short  space  to  the  consideration  of  those  tinted 
drawings  out  of  which  English  water-colour  art  was 
shortly  and  rapidly  to  develope. 

The  stained  or  tinted  drawing  was  the  method  by 
which  the  topographer  rendered  architecture  and  land- 
scape, generally  with  a  view  to  the  engraver  who  was 


RISE  OF  WATER-COLOUR  PAINTING    83 

subsequently  to  interpret  him  in  black  and  white.  His 
practice  was  first  to  make  an  outline  in  pencil  or  pen 
and  ink  of  the  main  architectural  features  of  his  work, 
rendering  the  necessary  accessories  of  foliage  and 
scenery  more  according  to  a  stereotyped  plan  than  from 
the  point  of  view  of  a  student  of  nature.  To  this 
outline  he  added  washes  of  Indian  ink,  sepia  or  grey, 
which  gave  the  different  gradations  of  light  and  shade. 
Sometimes  the  outline  disappeared  with  repeated  washes, 
at  others  it  was  emphasized  by  the  reed  pen.  Both 
methods  may  be  observed  in  the  work  of  the  draughts- 
men of  the  last  part  of  the  eighteenth  century.  In 
order  to  appreciate  the  position  and  importance  of  this 
school  of  artists,  for  artists  they  assuredly  were  though 
in  a  restricted  field,  it  is  well  to  recall  certain  features 
in  the  history  of  their  time.  Two  such  stand  out 
with  special  prominence  as  directing  the  artistic  in- 
stincts of  the  age  and  defining  the  uses  to  which  art 
was  applied,  firstly  the  taste  for  archaeology  and  anti- 
quarian research  at  home  and  abroad,  which  had  sprung 
up  about  the  middle  of  the  eighteenth  century,  and 
secondly  the  "discovery"  of  nature  as  a  source  of  the 
picturesque  which  followed,  though  at  some  distance, 
upon  it.  To  the  first  we  owe  the  fine  antiquarian 
literature  which  resulted  from  the  labours  of  Pennant, 
*  Athenian '  Stuart,  and  the  rest ;  to  the  second  the 
fashion  of  "views"  with  which  aquatint  was  subse- 
quently so  largely  concerned.  Moreover  it  was  a  time 
in  which  architecture  enjoyed  more  consideration  than 
it  has  ever  done  since,  and  if,  as  we  must  assume  from 
extant  records,  it  was  chiefly  inspired  by  classical  models 


84  HISTORY  OF  AQUATINT 

abroad  and  showed  but  little  inclination  towards  a 
national  style,  its  supremacy  among  the  fine  arts  was 
undisputed  and  public  interest  in  it  undoubtedly  genuine. 
It  will  be  thus  easily  understood  that  the  draughtsman 
who  could  produce  careful  drawings  of  buildings  and 
faithfully  transcribe  nature  was  much  in  request  and  had 
ample  scope  for  his  efforts.  He  was  invited  to  make 
tours  through  the  British  Isles  and  to  produce  pictorial 
representations  of  abbeys  and  castles,  fashionable  water- 
ing-places and  pastoral  scenes  that  could  be  multiplied 
by  the  engraver,  and  so  satisfy  the  public  demand  for 
"  views  " — a  new  word  coined  to  meet  the  needs  of  a 
new  taste.  Explorers  took  him  on  voyages  of  discovery 
in  distant  parts  of  the  world  that  he  might  picture  their 
adventures,  as  many  of  the  fine  books  to  be  noticed  later 
record,  books  that  are  still  among  the  most  attractive  of 
works  of  travel  from  the  freshness  of  their  narrative  as 
well  as  from  the  quality  of  their  illustrations. 

In  this  way  John  Clevely  (i 745-1 786)  accompanied 
Mr,  afterwards  Sir  Joseph,  Banks  on  his  tour  in  Iceland 
in  1772,  and  two  years  later  went  with  Captain  Phipps, 
afterwards  Lord  Mulgrave,  on  an  exploring  expedition 
to  the  north  seas.  John  Webber,  R.A.  (175 2- 1792) 
sailed  with  Captain  Cook  on  his  third  and  last  voyage, 
and  witnessed  his  death,  which  he  subsequently  re- 
corded in  a  print  engraved  by  Bartolozzi  and  Byrne. 
A.  W.  Devis  (1763-1822),  while  draughtsman  to  the 
East  India  Company,  was  wrecked  in  the  Pellew 
Islands;  William  Westall,  A.R.A.  (1781-1850),  again, 
when  a  probationer  at  the  Royal  Academy,  was 
selected  at  the   age  of  eighteen  to  sail   as   landscape 


O      CQ 


V 


RISE  OF  WATER-COLOUR  PAINTING     85 

draughtsman  to  Captain  Flinders  on  his  voyage  ot 
Australian  discovery. 

Other  artists  accompanied  foreign  missions  like 
Julius  Caesar  Ibbetson  (1759- 18 17),  who  joined  Colonel 
Cathcart's  embassy  to  China  in  1788;  he  came  back, 
however,  empty-handed,  as  the  ambassador  died  on  the 
voyage  and  the  vessel  returned  home.  Another  embassy 
to  the  same  country  four  years  later  was  to  prove  most 
fruitful  in  pictorial  results.  In  1792  William  Alexander 
(1767- 1 8 16)  went  thither  with  Lord  Macartney  and 
illustrated  Sir  George  Staunton's  account  of  the  country 
and  its  inhabitants.  Thomas  Hearne  (1744- 181 7)  went 
to  the  Leeward  Islands  with  their  first  governor,  Sir 
Ralph  Payne,  afterwards  Lord  Lavington,  in  1771, 
and  spent  altogether  five  years  in  sketching  the  scenery 
of  the  West  Indies.  In  William  Havell  (1782- 1857) 
China  had  once  more  an  important  draughtsman.  In 
1 8 16  he  accompanied  Lord  Amherst's  embassy  to  the 
interior  of  that  country,  but  seems  to  have  left  the  ship 
in  consequence  of  some  disagreement  and  to  have  gone 
on  to  India,  where  he  remained  eight  years.  With  a 
single  exception,  his  name  is  not  associated  with  any 
of  the  illustrations  to  either  of  the  accounts  of  the 
journey  published  in  18 19;  it  is  as  a  painter  of  the 
Thames  and  Lake  scenery  that  he  made  his  reputation. 

The  fashionable  ambition  of  the  period,  to  be  a 
patron  of  the  arts,  gave  further  scope  to  the  topo- 
grapher. An  acquaintance  with  art  was  part  of  the 
education  of  every  gentleman  of  fashion  in  those  days, 
to  be  gained,  if  possible,  by  the  grand  tour,  but  in  any 
case    by   an    association    with    architects    and    artists. 


86  HISTORY  OF  AQUATINT 

Every  nobleman  who  travelled  took  an  artist  in  his 
train,  to  make  studies  of  antiquities  or  scenery,  according 
to  the  taste  of  the  patron.  It  was  thus  that  John  Robert 
Cozens  (1752- 1799)  made  his  first  visit  to  Italy  in  1776 
with  R.  Payne  Knight,  and  his  second  in  1782  under 
the  patronage  of  William  Beckford,  author  of  Vathek 
(178 1- 1 782),  the  wealthy  owner  of  Fonthill  Abbey,  at  that 
time  a  very  youthful  author  and  dilettante.  The  Earl 
of  Warwick,  who,  as  the  Hon.  Charles  Greville,  had 
taken  Paul  Sandby  on  several  sketching  tours,  took 
John  Smith  (i 749-1 831)  also  to  Italy,  whence  that 
artist  was  later  distinguished  from  others  of  his  name 
by  the  preface  of  "Italian"  or  "Warwick"  Smith. 
Lord  Palmerston  took  William  Pars,  A.R.A.  (1742- 
1782)  to  Switzerland  and  Rome,  and  the  members  of 
the  Dilettanti  Society  employed  him  to  sketch  for  them 
in  Greece. 

Nor  was  it  otherwise  at  home,  though  the  first  impulse 
towards  a  rendering  of  local  scenery  in  water  colour 
came  about  by  accident.  No  chapter  in  the  history  of 
the  Wedgwoods  and  their  pottery  is  more  interesting 
than  their  connection  with  Russia.  "  Lord  Cathcart," 
says  Mrs  Meteyard  in  her  Life  of  Josiah  Wedgwood, 
"had  introduced  to  the  notice  of  the  Empress  Catherine 
Wedgwood's  exquisite  yet  unservile  copies  of  antique 
art ;  and  she  had  probably  seen  at  the  ambassador's 
or  her  nobles'  tables,  that  an  English  manufacturer  had 
been  the  first  to  unite  in  modern  days  obvious  utility 
and  simple  grace.  Through  his  agency,  and  that  of  the 
merchants  of  St  Petersburg,  she  adorned  her  palaces 
with  the  finest  vases,  bas-reliefs  and  gems  Wedgwood 


RISE  OF  WATER-COLOUR  PAINTING     87 

and  Bentley  had  yet  produced ;  and  soon  after  she 
commissioned  Mr  Baxter,  the  British  Consul,  to  procure 
the  dinner  and  other  services  completed  and  sent  to 
Russia  in  the  autumn  of  1770.  At  the  close  of  1773, 
in  imitation  probably  of  those  German  princes  whose 
favours  were  lavished  upon  the  porcelain  works  of 
Dresden  and  Berlin,  the  Empress  commissioned  Mr 
Baxter,  through  one  of  her  nobles,  to  open  negotiations 
with  Wedgwood  and  Bentley,  for  the  manufacture  of 
a  vast  cream-ware  service,  for  every  purpose  of  the 
table,  and  on  which  should  be  enamelled  views  of 
British  scenery."  ^ 

Bentley,  in  announcing  this  royal  order  to  Wedg- 
wood, after  speaking  of  the  bordering  patterns  and  the 
distinctive  mark  of  the  frog,  which  was  to  appear  as  a 
sign  that  the  service  was  for  use  at  the  "  Grenouillere," 
part  of  the  Palace  of  Tzarskoselo,  thus  continues — "  I 
have  no  idea  of  this  service  being  got  up  in  less  than 
two  or  three  years  if  the  Landskips  and  buildings  are  to 
be  tolerably  done,  so  as  to  do  any  credit  to  us,  and  to  be 
copied  from  pictures  of  real  buildings  and  situations,  nor 
of  its  being  afforded  for  less  than  ;^iooo  or  ;^i50o; 
why  all  the  Gardens  in  England  will  scarcely  furnish 
subjects  sufficient  for  this  sett,  every  piece  having  a 
different  subject."^  The  complete  account  of  this  great 
work  is  most  entertaining,  and  gives  a  very  vivid  picture 
of  all  the  procedure  that  went  to  complete  it.  It  must 
here  suffice  to  say  that,  in  order  to  procure  the  vast 
number  of  views  necessitated  by  the  number  of  pieces 

^  Life  of  Josiah  Wedgwood^  Eliza  Meteyard,  2  vols.,  1865-66  ;  vol.  ii., 
chap.  vi. 


88  HISTORY  OF  AQUATINT 

required,  Wedgwood  ransacked  the  print  shops  of 
Boydell,  Major,  Cadell,  Hooper  and  others  for  prints, 
inspected  private  collections,  and  obtained  the  loan  of 
pictures  from  the  various  members  of  the  aristocracy, 
who  vied  with  each  other  in  coming  to  his  aid.  But  not 
only  were  sketches  made  from  pictures  already  in  exist- 
ence, but  real  views  were  taken  by  means  of  a  camera 
obscura.  For  weeks  he  employed  artists  to  go  round 
the  country,  often  accompanying  them  himself,  to  take 
views  of  the  gentlemen's  seats,  particularly  in  Stafford- 
shire and  Cheshire.  There  was  much  competition  on 
the  part  of  landowners  to  have  their  places  represented, 
and  Wedgwood  had  to  see  to  it  that  no  offence  was 
given  by  leaving  out  those  who  thought  they  had  a 
right  to  the  honour.  "  The  Gentlemen,"  he  writes  to 
Bentley,  "  seem  highly  pleas'd  with  the  compliments,  as 
they  are  pleased  to  say  I  am  paying  to  them  and  from 
what  I  perceive  in  the  little  we  have  done,  I  could  well 
make  it  worth  my  own  while,  to  pursue  the  same  plan 
all  over  the  Kingdom."  Feeling  was  so  strong  and 
interest  so  great  that  it  became  quite  a  delicate  matter 
to  assign  to  the  largest  dishes  the  views  of  the  most 
important  seats,  and  not  to  give  a  country  squire  one  of 
the  size  that  should  properly  be  devoted  to  a  peer. 

But  what  concerns  us  in  all  this  is,  that  artists  of 
merit  were  sown  broadcast  over  the  country  to  make 
sketches ;  among  them  Devis,  G.  Barret,  Smith,  Pye 
the  engraver,  and  many  others  of  equal  reputation.  In 
all  1282  different  views  were  provided,  giving  a  fresh 
impulse  to  topographical  drawing.  When  completed, 
the  Russian  service  was  on  show  for  nearly  two  months, 


RISE  OF  WATER-COLOUR  PAINTING     89 

and  was  one  of  the  most  popular  sights  in  London. 
But  for  a  time  the  advantage  of  the  impulse  thus  given 
to  the  travelling  artist  was  somewhat  discounted  by  the 
rage  for  depicting  gentlemen's  seats,  as  if  these  con- 
stituted the  only  part  of  a  landscape  worth  drawing. 
For  true  landscape — or  rural  scenery,  as  it  was  then 
called, — there  was  little  demand  for  some  time  to  come. 

When,  however,  artists  began  to  see  with  their  own 
eyes,  and  to  lay  aside  the  spectacles  of  convention  with 
which  they  had  hitherto  regarded  nature,  publishers 
also  awoke  to  the  fact  that  there  was  likewise  profit  for 
them  in  the  new  outlook.  Henceforth  the  architectural 
draughtman  and  the  landscape  painter  both  travelled  in 
the  employment  of  publishers,  in  order  to  illustrate  their 
works  on  topography  and  antiquities.  Of  these  was  the 
Thomas  Hearne  above  mentioned,  who,  though  he 
began  life  as  a  landscape  engraver,  after  his  return 
from  the  West  Indies,  devoted  himself  to  topographical 
drawings,  the  results  being  eventually  published  in  1807 
in  two  folio  volumes,  under  the  title  of  Antiquities  of 
Great  Britain.  Thomas  Malton  did  much  the  same  ; 
so  did  many  others,  such  as  A.  Pugin,  F.  Nash,  T. 
Rowlandson,  and  T.  Uwins,  who  drew  for  the  enter- 
prising Ackermann.  But  enough  has  been  said  to  show 
what  a  wide  field  lay  open  to  the  draughtsman  of  the 
time,  and  to  account  for  the  numbers  who  followed  the 
calling  with  a  sure  prospect  of  employment,  and,  at 
least,  a  moderate  remuneration,  if  not  riches. 

There  remain  a  few  other  points  relative  to  the  con- 
nection between  early  water-colour  painting  and  aquatint 
engraving  which  should  constantly  be  borne  in  mind. 


90  HISTORY  OF  AQUATINT 

Not  the  least  important  is  the  fact  that  a  large  number 
of  those  who  were  subsequently  to  gain  distinction  as 
water-colour  artists  were  trained  by  engravers,  and 
made  their  first  efforts  with  the  burin  or  the  needle, 
and  not  with  the  brush.  Again,  the  colouring  of  prints 
was  a  stage  in  the  education  of  many  a  young  painter 
who  afterwards  gained  distinction  in  his  own  line. 
Great  skill  and  precision  were  consequently  attained 
in  this  somewhat  monotonous  task  and  the  results  were 
frequently  of  a  very  high  order.  The  names  of  the 
colourists  are  not  recorded  on  the  plates,  save  in  the 
case  of  a  few  artists,  whose  names  are  given  along  with 
those  of  the  engravers,  nor  is  the  omission  surprising 
when  we  read  in  Repton's  Observations  on  Landscape 
Gardening  (1803):  "The  art  of  colouring  plates  in 
imitation  of  drawings  has  been  so  far  improved  of  late 
that  I  have  pleasure  in  recording  obligations  to  Mr 
Clarke,  under  whose  direction  a  number  of  children 
have  been  employed  to  enrich  this  volume."  Acker- 
mann,  it  is  known,  kept  a  large  body  of  colourists  em- 
ployed in  tinting  the  impressions  for  his  many  illustrated 
books,  most  of  which  were  issued  in  large  editions  ;  while 
Turner  and  Girtin  were  as  boys  employed  by  Dayes  and 
J.  R.  Smith  for  the  same  purpose.  We  have  spoken 
previously  of  the  cost  and  length  of  time  involved  in 
treating  a  single  plate  with  different  colours  applied  by 
dabbers,  cleaning  off  the  superfluous  ink  so  that  it  does 
not  run  into  the  next  colour,  and  repeating  this  process 
for  every  single  print  taken.  Such  a  method  was 
obviously  inapplicable  to  books  which  were  issued  in 
large  numbers,  and  the  hand  tinting  of  the  prints  in 


RISE  OF  WATER-COLOUR  PAINTING     91 

batches  as  the  edition  was  worked  off  proved  a  far 
simpler  and  more  satisfactory  plan.  The  artist  prepared 
a  drawing  specially  coloured  for  the  purpose,  and  with 
this  model  before  them  and  under  the  direction  of  the 
engraver,  the  group  of  colourists  in  the  employ  of  the 
publisher  commonly  worked.  It  should  be  noted,  how- 
ever, that  as  the  addition  of  hand  colouring  added  greatly 
to  the  expense  of  publication,  many  of  these  books  were 
issued  in  a  plain  state  and  at  a  much  lower  price.  An 
interesting  example  of  the  method  by  which  the  artist 
prepared  his  work  for  the  aquatint  engraver  is  the  Sea 
Fights  of  S.  Owen,  to  be  seen  in  the  Print  Room  of  the 
British  Museum,  a  book  which  does  not  appear  ever 
to  have  been  published,  though '  the  plates  are  accom- 
panied by  descriptive  letterpress.  In  this  book  the  first 
four  plates  are  engraved  in  colour  by  W.  Wells  after 
drawings  by  S.  Owen,  whi'je  the  remaining  twenty  are 
coloured  drawings  prepared  for  the  aquatinter,  four  being 
etched  in  outline  as  well  as  coloured.  The  size  of  the 
plates  is  5I  x  8^.  Both  in  size  and  general  character 
it  is  a  fair  example  of  the  sort  of  work  to  which  aquatint 
illustration  was  so  largely  applied  at  the  time. 

In  looking  down  the  list  of  painters  in  water  colours 
whose  work  was  translated  into  aquatint  it  is  surprising 
to  see  how  many  of  the  names  of  the  best  known  artists 
are  absent.  Not  only  are  they  unconnected  with  book 
illustration,  but  their  work  seems  not  to  have  been  re- 
produced at  all  in  that  style  of  engraving.  And  yet  it 
would  appear  to  have  been  only  by  chance  that  aquatint 
was  not  applied  in  large  measure  to  the  work  both  of 
Thomas  Girtin  and  J.    M,   W.  Turner.     Of  Girtin  we 


92  HISTORY  OF  AQUATINT 

have  only  the  Picturesque  Views  in  Paris,  a  set  of 
twenty  engravings  which  show  how  peculiarly  applicable 
it  was  to  the  qualities  of  his  style  ;  had  he  lived  longer 
he  would  probably  have  done  more  work  in  this  manner. 
A  criticism  often  passed  upon  aquatint  engraving  is  that 
it  obliterates  the  personal  touch,  and  that  consequently 
it  is  impossible  to  pick  out  with  certainty  either  the  work 
of  a  particular  engraver  or  of  the  artist  on  whose  draw- 
ings he  was  employed.  While  it  is  true  that  the  nature 
of  the  process  reduces  the  characteristics  of  the  work  of 
the  average  artist  to  a  certain  dead  level  of  mediocrity, 
there  are  yet  many  brilliant  exceptions,  and  amongst 
them  may  be  placed  the  Views  in  Paris.  Girtin  had 
been  apprenticed  to  Dayes  and  learnt  the  first  elements 
of  his  trade  in  the  laborious  process  of  colouring  his 
master's  prints.  The  story  of  his  rebellion  against  this 
wearisome  occupation,  his  imprisonment  in  the  Fleet  as 
a  refractory  apprentice,  and  release  by  Lord  Essex  is 
well  known.  But  his  new  master,  John  Raphael  Smith, 
employed  him  on  the  same  work,  together  with  Turner, 
who  had  been  apprenticed  to  Thomas  Malton  during  the 
time  that  Girtin  was  with  Dayes.  A  pleasanter  aspect 
of  contemporary  patronage  showed  itself  in  men  like 
John  Henderson  and  Dr  Monro,  neighbours  in  Adelphi 
Terrace,  Sir  George  Beaumont,  and  others,  who  not 
only  collected  drawings  and  pictures  for  their  own  use, 
but  encouraged  young  artists  to  come  and  copy  them,  a 
privilege  of  inestimable  profit  in  the  absence  of  national 
collections.  Girtin  made  a  set  of  copies  for  Mr  Hender- 
son, now  in  the  British  Museum,  after  Hearne,  Wilson, 
Malton,    Piranesi,    Canale    and    Morland.      The    skill 


RISE  OF  WATER-COLOUR  PAINTING    93 

obtained  in  this  severe  schooling  of  colouring  prints 
and  copying  pictures  ensured  a  foundation  of  delicate 
and  patient  draftsmanship  which  is  very  obvious  in 
Girtin's  architectural  drawings  of  Paris  streets  and 
buildings.  Mr  Binyon^  has  pointed  out  the  influence 
of  Antonio  Canale  upon  English  art,  and  it  is  not  difficult 
to  trace  it  in  Girtin's  Paris  views,  almost  the  last  efforts 
of  his  short  life,  where  he  used  the  reed  pen  with  such 
admirable  effect.  Ordered  in  1801  to  go  abroad  for  his 
health,  he  got  no  further  than  Paris.  There,  though  his 
strength  was  rapidly  declining,  he  hired  a  carriage  and 
drove  about,  sketching  from  the  window  what  took  his 
fancy,  just  as  in  earlier  days  he  had  seen  and  studied 
London  from  a  barge.  On  his  return  home  he  etched 
the  outlines  of  the  drawings  in  soft  ground,  and  the  plates 
were  handed  over  to  F.  C.  Lewis  (1779- 1856)  and  othe 
engravers  to  complete  in  aquatint.  The  British  Museum 
possesses  a  set  of  these  drawings  in  pencil  outline,  pro- 
bably used  for  the  etchings,  while  a  set  of  the  outline 
etchings,  washed  by  Girtin  himself  for  the  Earl  of  Essex 
and  given  by  the  Earl  to  the  Duke  of  Bedford,  is  now  at 
Woburn  Abbey.  Of  this  set  five  are  coloured  with  sepia 
only ;  the  others  have  in  addition  delicate  tints  of  blues 
and  greys,  only  the  one  of  St  Denis  being  fully  coloured. 
Girtin  returned  to  London  in  1802  to  die  in  the  November 
of  that  year,  and  the  Views  were  published  by  his  brother 
John  in  1803.  How  many  sets  were  issued  we  do  not 
know,  but  John  Girtin's  house  was  destroyed  by  fire, 
and  it  is  said  that  many  of  his  brother's  works,  as  well 
as  copies  of  the  Views,  were  lost  in  this  way,  a  fact 
^  Thomas  Girtin,  his  Life  and  Works.    Lawrence  Binyon,  1900. 


94  HISTORY  OF  AQUATINT 

which  would  account  for  their  scarcity.  In  1880  a  set 
was  sold  in  Paris  for  about  ^13,  and  one  was  recently 
offered  in  London'  at  a  higher  price. 

In  the  interests  of  aquatint  engraving  we  may  be 
inclined  to  regret  that  Turner's  original  intention  to 
have  the  Liber  Studiorum  engraved  in  that  manner 
fell  through  on  account  of  his  difficulties  with  F.  C. 
Lewis.  When  Ruskin  said  of  Turner,  "He  paints  in 
colour,  but  he  thinks  in  light  and  shade,"  he  phrased 
the  characteristic  that  made  his  work  peculiarly  suitable 
to  aquatint.  Ruskin  depreciated  chiaroscuro,  but  a 
knowledge  of  it  is  essential  to  all  engraving — more 
particularly  to  aquatint,  though  the  nature  of  the  process 
does  not  admit  of  its  elaboration.  The  Liber  plates 
began  in  1807,  and  ended  prematurely  in  18 19.  They 
were  intended,  as  is  well  known,  to  be  a  classification 
of  the  various  styles  of  landscape — historic,  pastoral, 
mountainous,  marine,  and  architectural — and  would  have 
furnished  interesting  examples  of  the  aquatint  process  as 
applied  to  a  wide  range  of  subjects.  The  work  was 
advertised  to  consist  of  mezzotints, ^  but  Turner  had  for 
some  time  been  making  experiments  with  all  forms  of 
engraving  in  order  to  see  which  of  them  gave  the  best 
rendering  of  his  drawings.  Aquatint  had  already  been 
proved  by  Sandby,  Girtin,  and  Daniell  to  be  especially 
suited  to  the  imitation  of  wash-drawings  in  sepia  or 
bistre,  and  Turner  appears  to  have  had  some  correspond- 
ence with  John  Girtin  on  the  matter.  In  an  undated 
letter  about  the  engraving  of  a  plate  he  writes  :  "If 
we  succeed,  I  should  like  to  have  them  engraved  like 

^  Turner's  Uber  Studiorum j  W.  G.  Rawlinson,  2nd  ed.,  1906. 


RISE  OF  WATER-COLOUR  PAINTING     95 

Mr  Daniell's,"  ^  referring,  no  doubt,  to  Thomas  Daniell's 
Oriental  Scenery,  published  between  1795  and  1808. 
Having  decided  on  aquatint.  Turner  applied  to  F.  C. 
Lewis,  who  had  done  most  of  Thomas  Girtin's  Paris 
views,  to  undertake  the  work,  and  Lewis  started  on  the 
plate  now  known  as  The  Bridge  and  Goats,  which  was 
intended  to  be  the  first  of  the  series,  but  only  appeared 
as  the  ninth.  The  drawing  for  this  is  in  the  National 
Gallery,  as  well  as  an  impression  of  the  etching  coloured 
in  sepia,  as  a  guide  for  the  engraver,  and  is  more  after 
the  manner  of  Claude's  Liber  Veritatis,  which  Turner 
had  taken  as  his  model,  than  any  of  the  others.  The 
agreement  was  that  Turner  should  first  etch  the  outline, 
and  that  Lewis  should  add  the  imitation  of  the  original 
washes  in  aquatint  and  receive  ^5  a  plate  for  so  doing, 
thus  following  Girtin's  method  of  employing  aquatint 
over  an  etched  outline.  Turner,  however,  on  etching 
the  first  plate  appears  to  have  been  dissatisfied,  and, 
reversing  the  process,  desired  to  have  the  masses  of 
light  and  shade  aquatinted  first  and  the  outline  etched 
afterwards.  Lewis  making  technical  objections  to  this. 
Turner  requested  him  to  do  the  etching  himself;  this 
the  engraver  had  no  objection  to  doing,  but,  considering 
;^5  too  little  for  the  extra  work  entailed  by  the  plate,  he 
demanded  eight  guineas.  One  of  three  artist  brothers, 
Frederick  Christian  Lewis  began  his  career  as  an  aqua- 
tinter  under  Stadler,  and  in  the  schools  of  the  Royal 
Academy.  At  twenty-four  he  had  made  a  name  for 
himself  by  engraving  Girtin's  Views  of  Paris,  but  his 
first  great  success  was  in  the  engraving  of  the  plates 

^  Landseer,  John,  The  Review  of  Publications  of  Art  (1808). 


96  HISTORY  OF  AQUATINT 

of  Ottley's  Italian  School  of  Design,  which  led  to  much 
similar  work  in  the  future.  Lewis  was  very  popular 
with  the  Royal  Family,  and  held  the  appointment  of 
engraver  of  drawings  to  several  of  its  members,  including 
Princess  Charlotte  and  Queen  Victoria.  He  was  at  the 
time  of  the  negotiations  with  Turner  in  considerable 
demand  as  an  engraver,  and  his  time  was  much  taken 
up  with  Chamberlaine's  great  work  of  engraving  the 
paintings  of  Claude  and  other  masters  in  the  Royal 
Collection.  Writing  to  John  Pye  on  the  subject  in 
1850,  he  gives  this  as  his  reason  for  refusing  Turner's 
offer,  coupled  with  the  question  of  price,  saying  that  he 
was  paid  fifteen  to  forty  guineas  for  the  Claude  plates, 
but  adding  that  "had  Mr  Turner  etched  the  plates  for 
me,  I  certainly  would  not  have  hesitated,  and  would 
gladly  have  done  them  for  the  low  sum  that  he  offered 
when  first  he  came  to  me  about  the  work."  This  incident 
was,  unfortunately,  not  the  only  instance  of  Turner's 
underpayment  of  engravers  and  of  his  general  meanness, 
for  his  namesake,  Charles  Turner,  fared  no  better  at  his 
hands.  The  Bridge  and  Goats,  Plate  43  in  Mr  Rawlin- 
son's  Catalogue^  if  the  only  aquatint  plate  in  the  Liber, 
is  not  the  only  one  in  which  aquatint  is  employed,  and 
even  of  this  the  third  trial  proof,  which  is  in  the  British 
Museum,  and  all  the  finished  states,  have  mezzotint  as 
well.  Dunstanborough  Castle,  Plate  14,  has  the  sky 
aquatinted,  the  castle  standing  out  in  etched  line. 
The  aquatint  was  put  in,  apparently,  without  Turner's 
sanction,  for  the  engraver's  proof  has  the  following  note 
by  him  in  the  margin  :  "  Sir,  you  have  done  in  aquatint 
all  the  castle  down  to  the  rocks  ;  did  I  ever  ask  for  such 


RISE  OF  WATER-COLOUR  PAINTING    97 

an  indulgence  ? "  In  this  plate  it  is  interesting  to  see 
the  mezzotint  creeping  up  to  the  aquatint  and  the 
gradual  amalgamation  of  the  three  processes — aqua- 
tint, mezzotint  and  etching.  On  Plate  44,  Calm,  aqua- 
tint is  added  to  soft  ground  etching  on  the  engraver's 
proofs.  In  Mr  Rawlinsons  book  the  reader  will  find 
many  interesting  comments  on  these  plates  and  on 
Turner's  experiments  with  aquatint ;  and  if  it  must 
be  admitted  that  the  Liber  is  far  finer  in  mezzotint 
than  it  could  ever  have  been  in  aquatint,  we  must 
nevertheless  regret  that  Turner  made  no  further  attempt 
to  use  the  latter  process  for  any  of  his  plates. 


CHAPTER  V 

PAUL    SANDBY   AND    HIS    AQUATINTA,     1725-1809 

It  was  from  J.  B.  Le  Prince  that  the  Hon.  Charles 
Greville  obtained  the  secret  of  aquatint  engraving,  and 
he  communicated  it  forthwith  to  Paul  Sandby,  who  in 
1774  produced  the  first  English  aquatints.  His  earliest 
attempts  were  imitations  of  drawings  in  sepia  or  Indian 
ink,  but  in  the  following  year  he  published  his  first  set  of 
coloured  plates,  described  as  Twelve  Views  in  Aquaiinta 
from  Drawings  taken  on  the  spot  in  South  Wales,  dedi- 
cated to  the  Hon.  Charles  Greville  and  Joseph  Banks,  Esq. , 
by  their  ever  grateful  and  much  obliged  servant,  Paul 
Sandby,  R.A. 

Paul  Sandby  was  the  younger  of  two  brothers  whose 
life  and  labours  form  an  interesting  chapter  in  the  history 
of  English  art.  The  Sandby  family  came  from  Notting- 
hamshire, deriving  their  name  from  Saundby,  a  pictur- 
esque village  on  the  borderland  between  that  county 
and  Lincolnshire.  Both  Thomas  and  Paul  are  said  by 
tradition  to  have  been  born  at  Nottingham,  the  elder  in 
172 1,  the  younger  in  1725,  and  to  have  quitted  it  for 
London  in  1741.  Both  seem  to  have  begun  their 
artistic  career  in  the  drawing  room  at  the  Tower,  then 
the  headquarters  of  the  old  Map  or  Survey  Office  for 

those    employed    as    military   draughtsmen   under    the 

98 


PAUL  SANDBY  AND  HIS  AQUATINTA    99 

Master- General  of  the  Ordnance ;  they  were  probably- 
occupied  chiefly  with  the  execution  of  plans  giving  the 
outlines  and  hill  features  of  different  countries.  It  was 
no  doubt  in  this  way  that  Paul  acquired  the  training  which 
enabled  him  later  to  create  the  type  of  topographical 
drawing  which  was  to  have  so  extensive  a  popularity. 

In  1743  Thomas  was  appointed  private  secretary 
and  draughtsman  to  William  Augustus,  Duke  of  Cum- 
berland, and  in  that  capacity  accompanied  him  in  his 
campaigns  in  Flanders  and  Scotland,  while  after  the 
suppression  of  the  Scottish  rebellion  in  1745- 1746  Paul 
was  employed  in  the  military  survey  of  the  new  line  of 
road  to  Fort  George,  and  of  the  northern  and  western 
parts  of  the  Highlands.  On  his  return  to  England 
Thomas  became  an  architect,  and  later  on,  when  pro- 
fessor of  architecture  at  the  Royal  Academy,  was  in 
the  habit  of  illustrating  his  lectures  by  some  of  the 
drawings  made  during  the  stirring  years  of  his  earlier 
career.  Paul  quitted  the  service  of  the  survey  in  1751, 
having  laid  up  a  store  of  portraits,  as  well  as  sketches  of 
scenes  and  scenery,  many  of  which  were  to  appear  later 
as  aquatint  engravings. 

The  services  of  the  two  brothers  in  Scotland  proved 
fruitful  to  both.  Thomas  was  made  Deputy  Ranger  of 
Windsor  Great  Park  by  the  Duke  of  Cumberland,  who 
had  himself  been  appointed  to  the  Rangership  on  his 
return  to  England  in  1746.  In  this  post,  which  he  held 
for  fifty-two  years,  Thomas  had  both  leisure  and  scope  for 
his  varied  talents.  He  constructed  Virginia  Water,  built 
lodges  and  made  plantations  under  the  supervision  of 
the    Duke,  who   occupied    Cranbourn   Lodge,   and   the 


loo  HISTORY  OF  AQUATINT 

history  of  Windsor  Forest  is  henceforth  identified  with 
Thomas  Sandby  until  his  death  in  1798  at  the  age  of  "]"] 
The  Royal  Library  at  Windsor  Castle  contains  a  large 
number  of  plans  and  drawings  illustrating  his  works. 

On  giving  up  his  employment  in  the  Scotch  surveys 
in  1 75 1,  Paul  went  to  live  with  his  brother  at  Windsor; 
hence  the  numerous  sketches,  many  of  them  most 
attractive,  of  the  Great  Park,  the  Castle,  Eton  College, 
Datchet  and  the  country  round,  over  fifty  of  which 
are  in  the  Royal  Collection.  These  early  Windsor 
drawings,  at  first  secured  by  Sir  Joseph  Banks,  one 
of  Paul  Sandby's  earliest  patrons,  were  dispersed  at 
Christie's  sale-rooms  on  May  23rd  1876,  as  the  property 
of  Sir  Wyndham  Knatchbull. 

Besides  his  water-colour  work  Paul  did  many  etch- 
ings, and  as  a  landscape  engraver  became  one  of  the 
most  successful  artists  of  his  day.  Being  anxious  to 
introduce  a  young  Scottish  artist,  David  Allan,  to  notice 
in  London,  he  executed  a  set  of  plates  from  his  drawings 
in  illustration  of  Ramsay's  Gentle  Shepherd,  dated  1758, 
collaborated  with  Edward  Rooker  (1712  ?-i774),  father 
of  the  better  known  Michael  Angelo  Rooker,  in  the 
illustrations  to  Tasso's  Jerusalem  Delivered  from  designs 
by  John  Collins  ;  produced  a  set  of  twelve  etchings  in  4to 
of  the  Cries  of  London  in  1760,  and  in  1761  Eight  Views 
in  North  America  and  the  West  Indies  from  drawings 
by  Governor  Pownall  and  others.  For  the  most  part, 
however,  his  etched  work  was  done  from  his  own  draw- 
ings. He  was  also  a  caricaturist  of  no  mean  order,  both 
of  political  and  social  subjects,  his  appearance  in  that 
capacity  dating  from  1753,  when  Hogarth  published  his 


PAUL  SANDBY  AND  HIS  AQUATINTA    loi 

Analysis  of  Beauty ;  many  of  these  humorous  efforts 
were  also  engraved  in  aquatint.  The  following  extract, 
taken  from  Arnold's  Library  of  the  Fine  Arts,  relates 
to  the  Hogarth  incident.  "  His  talent  for  the  delineation 
of  character,  bordering  as  it  mostly  does  on  caricature, 
led  him  beyond  the  limits  of  good  sense  or  the  graver 
character  of  art.  On  the  appearance  of  Hogarth's 
Analysis  of  Beauty,  mixed  up  with  some  political  and 
party  feelings,  Mr  Sandby  produced  a  series  of  prints 
ridiculing  the  line  of  beauty,  and  exhibiting  its  application 
to  the  most  absurd  and  ludicrous  forms,  as  Hogarth  had 
done  as  to  those  of  more  elegant  and  legitimate  objects." 
The  story  concludes  with  Sandby 's  withdrawal  of 
these  satirical  prints  on  seeing  the  Mariage  a  la  Mode; 
"  Such  a  man,"  he  observed,  "  should  not  be  made  the 
subject  of  ridicule  or  burlesque."  The  anecdote  is  one 
of  those  in  which  the  desire  to  adorn  a  tale  takes  pre- 
cedence of  historic  accuracy,  the  Mariage  h  la  Mode 
having  appeared  eight  years  earlier  than  the  Analysis  of 
Beauty.  Sandby's  remark  must  either  be  imaginary,  or 
must  refer  to  some  other  work  of  Hogarth. ^ 

About  1 760  both  the  brothers  went  to  live  in  London 
for  a  part  at  least  of  each  year,  Paul  eventually  pur- 
chasing a  house  overlooking  Hyde  Park,  now  23  Hyde 
Park  Place,  where  he  lived  till  his  death  in  1809  at  the 
age  of  eighty-four.  They  were  both  associated  with  the 
early  attempts  to  form  Academies  and  Societies  of 
Artists  for  the  furtherance  and  protection  of  national  art, 
a  movement  marked  by  many  squabbles  and  much  con- 
fusion, out  of  which  the   Royal  Academy   was   subse- 

^  Arnold's  Library  of  the  Fine  Arts,  1831,  vol.  ii. 


102  HISTORY  OF  AQUATINT 

quently  to  emerge  ;  when  it  was  finally  incorporated  in 
1768,  both  were  included  among  the  forty  foundation 
members,  Thomas  being  elected  to  the  Chair  of  Archi- 
tecture. 

As  Paul  Sandby  is  known  chiefly  as  a  water-colour 
artist,  his  career  may  be  considered  to  lie  outside  the 
scope  of  this  book  ;  but,  as  a  matter  of  fact,  aquatint 
engraving  is  very  closely  connected  with  the  early 
history  of  water-colour  painting.  It  was  the  enthusiasm 
produced  by  the  application  to  painting  of  dry  colours 
that  set  the  engraver  to  respond  to  that  taste  by  the 
representation  of  landscape,  and  the  success  of  aquatint 
was  in  fact  assured,  in  England  at  least,  by  the  popularity 
of  water  colour.  And  if  further  apology  is  necessary  for 
devoting  some  space  to  the  consideration  of  the  life  and 
work  of  Sandby,  it  may  be  sought  in  the  attractive  per- 
sonality of  the  man  himself  and  his  many-sided  activities. 
Mulvaney's  Life  of  Gandon,  the  architect,  published  in 
1846,  gives  a  pleasing  picture  of  Paul's  social  life  in  Lon- 
don and  of  his  many  friendships,  a  picture  confirmed  by 
J.  T.  Smith,  Keeper  of  Prints  and  Drawings  in  the  British 
Museum,  from  1 8 1 6  to  his  death  in  1 833,  in  his  entertaining 
Book  for  a  Rainy  Day^  and  by  many  other  contemporary 
writers.  Gray,  among  others,  admired  Sandby's  work, 
of  which  he  thus  writes  to  Wharton  (Oct.  21st,  1760)  : 
"  Among  the  rest  (of  the  contributors  to  the  Exhibition  of 
the  Incorporated  Society  of  Artists)  is  a  Mr  Sandby,  who 
excells  in  Landscape,  with  figures,  views  of  Buildings, 
Ruins,  etc.,  and  has  been  much  employed  by  the  Duke, 
Lord  Harcourt,  Lord  Scarborough,  and  others.  Hitherto 
he  has  dealt  in  wash'd  Drawings  and  Water  Colours,  but 


PAUL  SANDBY  AND  HIS  AQUATINTA     103 

has  of  late  only  practised  in  oil."  ^  "  Sandby's  vast  store 
of  knowledge  in  the  fine  arts,"  says  Gandon,  "added  to 
his  high  professional  character,  and  the  conversational 
powers  which  he  possessed  being  highly  attractive,  drew 
round  him  a  circle  of  intellectual  and  attached  friends, 
comprising  the  most  distinguished  artists  and  amateurs 
of  the  day.  His  house  became  quite  the  centre  of 
attraction,  particularly  during  the  spring  and  summer 
months,  when  on  each  Sunday,  after  Divine  Service,  his 
friends  assembled  and  formed  a  conversazione  on  the 
arts,  the  sciences,  and  the  general  literature  of  the  day." 
At  the  **  club  "  dinner  of  the  Royal  Academy  he  was  a 
great  favourite,  often  amusing  the  company  with 
doggerel  verse  and  humorous  anecdote,  and  was  fre- 
quently in  request  as  a  member  of  its  Council. 

Another  trait  that  endeared  him  to  many  was  dis- 
played in  his  generous  exertions  on  behalf  of  those  artists 
who  wanted  help  at  a  time  when  patronage  was  neces- 
sary to  ensure  appreciation,  and  introductions  to  those  in 
high  places  the  only  certain  road  to  success.  It  was 
with  this  object  that  he  lent  his  etching  needle  to  secure 
public  notice  for  David  Allan,  John  Collins,  William 
Pars  and  C.  L.  Clerisseau,  while  no  less  a  person  than 
Richard  Wilson  owed  relief  from  actual  distress  largely 
to  his  unostentatious  help. 

In  1768  Paul  Sandby  was  appointed  chief  drawing- 
master  at  the  Royal  Military  Academy,  Woolwich,  a 
position  which  he  only  relinquished  in  1796  on  account 
of  his  age,  his  son  Thomas  Paul  being  nominated  his 
successor.     It  is  said  that  a  largre  number  of  the  drawings 

1  Letters  of  Thomas  Gray,  Bohn's  ed.,  vol.  ii.  p.  i68. 


I04  HISTORY  OF  AQUATINT 

attributed  to  him  are  copies  of  his  works  made  by  the 
cadets.  Many  of  the  subjects,  being  intended  for 
aquatint,  were  prepared  with  a  very  faintly  etched  out- 
line and  then  coloured  by  him  for  that  purpose  before 
being  passed  on  as  copies  to  his  pupils. 

Besides  this  appointment  he  seems  to  have  had  a 
large  circle  of  private  pupils  drawn  from  the  royal  family 
and  the  aristocracy,  while  a  few  professional  artists 
learned  of  him,  including  William  Watts  the  engraver, 
Michael  Angelo  Rooker  the  landscape  painter,  who 
derived  his  second  name  from  a  jest  of  Sandby's,  John 
Cleveley  the  marine  painter,  and  the  elder  Harding. 
Sandby  has  been  often  called  the  Father  of  Water- 
Colour  Painting,  but  the  title  is  not  well  applied.  His 
drawings  distinctly  belong  to  the  tinted  period,  and 
though  he  lived  well  on  into  the  time  when  local  colour 
had  triumphed  over  neutral  tint,  his  own  work  was 
always  marked  by  the  pen  outline  and  the  shadows  of 
Indian  ink. 

Sandby's  industry  must  have  been  extraordinary. 
Gandon  says  :  ''He  was  indefatigable  in  cultivating  his 
powers  as  an  artist.  He  commenced  painting  in  water 
colours  very  early  in  the  morning ;  the  pencil  and  very 
frequently  the  pen  seldom  quitted  his  hand  until  evening, 
allowing  himself  only  those  hours  dedicated  to  his  repasts 
at  which  merit  frequently  met  with  patronage  and  assist- 
ance, and  his  friends  uniformly  parted  from  his  hospit- 
able board  delighted  with  his  wit,  conversation  and 
manners."  Nor  must  we  forget  that  industry  in  any 
branch  of  art  was  not  as  easy  then  as  it  is  now,  least  of 
all  for  a  landscape  painter.      The  mere  moving  from 


PAUL  SANDBY  AND  HIS  AQUATINTA    105 

place  to  place  was  a  difficult  and  often  a  dangerous 
matter  :  the  choice  lay  between  riding  or  hiring  a  post- 
chaise,  unless  the  journey  was  made  on  foot,  when 
shelter  for  the  night  was  a  matter  of  careful  arrange- 
ment. To  think  of  the  various  parts  of  the  country 
traversed  by  Sandby,  to  paint  the  great  country  seats  or 
other  scenes  for  which  he  received  commissions  from  his 
patrons,  and  remember  the  obstacles  to  travel  in  his 
days,  is  to  marvel  at  the  amount  he  was  able  to  accom- 
plish. His  sketches  are  full  of  quaint  incidents  showing 
the  difficulties  he  had  frequently  to  face.  "  Sometimes," 
says  his  nephew  William,  "  he  represents  himself 
sketching  seated  on  the  ground,  with  a  boy  holding  a 
white  sun  umbrella  over  him  and  a  man  taking  charge 
of  his  horse.  At  others,  when  more  stationary,  he  has 
a  little  canvas  tent,  on  one  occasion  being  tilted  at  by  a 
furious  bull,  indignant  at  the  helpless  occupant  who  is 
sent  sprawling  on  the  grass.  Sometimes  the  post-chaise 
awaits  him  at  the  roadside  and  he  is  surrounded  by  a 
group  of  rustics  or  children  watching  him  at  his  work."  ^ 
Even  the  weekly  journey  to  Woolwich  which  he  had  to 
undertake  as  drawing-master  was  not  without  peril,  for 
the  coaches  were  often  waylaid  by  highwaymen  on  the 
road. 

Another  and  a  different  way  in  which  Sandby,  like 
his  contemporaries,  was  heavily  handicapped  was  the 
difficulty  of  obtaining  and  preparing  his  materials.  As 
yet  there  was  no  artists'  colourman,  and  every  artist  had 
to  make  his  own  dry  colours,  getting  his  ingredients  from 

*  Thomas  and  Paul  Sandby^   their  Lives  and  Works.      W.   Sandby. 
Seeley  &  Co.,  1892. 


io6  HISTORY  OF  AQUATINT 

the  druggist  and  the  herbalist.  A  great  improvement 
took  place  about  1780  when  Messrs  Reeves  first  began 
to  prepare  colours  for  artists  in  cakes,  but  then  and  for 
long  afterwards  these  were  very  limited  in  quantity. 
Sandby  was  a  born  experimenter,  and  his  letters  are  full 
of  his  discoveries  and  attempts  at  making  pigments. 
His  friend  Colonel  Gravatt,  R.E.,  himself  an  artist,  kept 
a  diary,  and  in  1802  noted  in  detail  Paul's  method  of 
painting  in  water  colour,  tempera  and  oils. 

Before  the  time  of  Paul  Sandby  topographical  repre- 
sentation chiefly  consisted  in  the  so-called  "bird's-eye 
views "  as  seen  in  the  illustrations  to  the  early  county 
histories,  the  plates  by  J.  Kip,  Loggan  and  Ryland. 
Paul's  knowledge  of  lineal  perspective,  coupled  with  his 
love  of  nature,  made  him  seize  instinctively  the  suitable 
characteristics  for  picturesque  delineation.  Other  artists 
readily  acknowledged  their  obligation  to  him  ;  indeed 
the  drawings  of  M.  A.  Rooker,  Thomas  Hearne, 
Edward  Dayes  and  many  others  bear  eloquent  testi- 
mony to  the  innovations  introduced  by  him. 

Sandby's  love  of  experiment  led  him  to  improve  on 
the  aquatint  method  as  practised  by  Le  Prince  by  sub- 
stituting the  spirit  ground  for  the  dust  ground,  as 
described  in  a  former  chapter.  His  Views  in  Wales 
( 1 774-1 776)  were  so  successful  that  he  followed  them  up 
with  four  large  aquatint  Views  of  Warwick  Castle,  dedi- 
cated to  the  Hon.  George  Greville,  Earl  of  Warwick, 
and  dated  1776.  In  the  same  year  came  Five  Views 
of  Windsor  Castle,  published,  like  the  Welsh  views,  by 
Sandby  at  St  George's  Row,  and  dedicated  to  the  Earl 
of  Montagu.     A  list  of  his  principal  plates  executed  in 


PAUL  SANDBY  AND  HIS  AQUATINTA    107 

aquatint  and  the  dates  of  their  publication  are  given  at 
the  end  of  this  chapter.  The  student  will  find  it  instruc- 
tive to  compare  his  early  with  his  later  work,  and  to 
note  the  gradual  improvement  and  increasing  effective- 
ness of  his  method ;  at  first  he  used  the  needle  freely 
for  purposes  of  definition,  but  ended  by  trusting 
entirely  to  the  aquatint  tones  to  produce  the  desired 
effect. 

He  also  executed  some  large  coloured  prints,  dated 
1 78 1,  depicting  the  soldiers'  encampments  formed  in  1780, 
the  year  of  the  Gordon  Riots,  in  Hyde  Park,  St  James's 
Park,  Kensington  Gardens,  and  on  Blackheath,  Cox- 
heath  and  Warley  Common.  These  have  always  been 
popular,  mainly  perhaps  from  the  attractiveness  of  the 
figure  groups,  which  are  especially  characteristic  of  the 
artist,  and  also  from  the  fact  that  well-known  personages 
of  the  time  were  included  amongst  them. 

The  landscape  views  had  an  extensive  circulation, 
and  more  than  one  critic  has  observed  that  Turner  him- 
self was  influenced  by  them  in  his  Liber  Studiorum,  at 
all  events  in  his  choice  of  subject.  One  of  Turner's 
earliest  efforts  was  a  copy  of  a  drawing  by  Paul  Sandby, 
and  the  first  plate  of  the  Liber  Studiorum  was,  as  we 
have  seen,  carried  out  in  aquatint. 

Lithography  even,  which  was  destined  to  supersede 
aquatint  engraving,  was  foreshadowed  in  a  letter  by  Paul 
Sandby  to  James  Gandon  in  1806,  and  had  it  not  been 
for  his  advanced  age  at  the  time  he  would  no  doubt  have 
experimented  in  that  new  field. 

Some  300  of  the  works  of  the  brothers  Sandby  in  oil, 
water  colour,   engraving,   and   etching   were   shown   at 

G 


io8  HISTORY  OF  AQUATINT 

Nottingham  in  1884;  the  permanent  art  collections 
contain  many,  private  collections  not  a  few,  and  at  every 
print-shop  examples  may  be  found.  The  number  of 
drawings  and  engravings  by  Paul  Sandby  dispersed 
over  the  country  must  be  very  large,  but  the  purchaser 
of  his  drawings  must  be  on  his  guard  against  the  copies 
made  by  his  pupils,  which  in  many  cases  are  almost 
indistinguishable  from  the  originals.  The  engravings 
too  must  be  carefully  examined  to  see  if  they  are  from 
unworn  plates.  Unfortunately  some  of  the  original 
copper  plates  were  not  destroyed  when  they  had  ceased 
to  yield  good  impressions,  and  falling  into  the  hands  of 
unscrupulous  dealers  the  prints  taken  from  them  were 
highly  coloured,  and  thus  re-issued  to  the  public. 

LIST  OF  AQUATINT  PLATES  BY  PAUL  SANDBY, 

From  the  "Lives  of  Thomas  and  Paul  Sandby,"  by 
William  Sandby. 

The  following  are  the  principal  plates  executed  in  aquatinta  by  Paul 
Sandby,  in  the  order  in  which  they  were  published.  When  not 
otherwise  stated,  the  engravings  are  from  his  own  drawings. 

Twelve  Views  in  South  Wales,  ist  set  .  .  Quarto,  1775 

Four  Views  of  Warwick  Castle         .  .  .  Folio,  1776 

Five  Views  of  Windsor  Castle  and  Eton     .  .  Folio,  1776-7 

Twelve  Views  in  North  Wales,  2nd  set        .  .  Quarto,  1776  . 

Twelve  Views  in  Wales,  3rd  set       .  .  .  Quarto,  1777 

Nine  Views  in  Baiae,  Ischia,  etc.,  after  Pars  and 

Fabris  ......  Folio,  1777 

Eight  Views   of   Naples,   Old   Capua,   etc.,   after 

Clerisseau  and  others  ....  Folio,  1778 

Worcester    ......  Folio,  1778 

Two  Views  of  Shrewsbury  Bridge    .  .  .  Folio,  1778 

Two  Views  of  Bridgnorth,  Shropshire  .  .  Folio,  1778 


PAUL  SANDBY  AND  HIS  AQUATINTA     109 


Eleven  Views  of  Miletus,  Troas,  Athens,  etc.,  after 

W.  Pars  .... 

Ludlow        ..... 
Ten  Views  of  Camps  in  Hyde  Park  and  Blackheath 
Four  Views  of  Encampments 
Two  Views  on  Blackheath  (Duke  of  Montagu's) 
Sports  of  the  Carnival  at  Rome,   after  D.  Allan 

(four  views)      .... 
The  Neapolitan  Dance,  after  D.  Allan 
Two  Views  of  St  Augustine's,  Canterbury    , 
The  Meteor  of   1783,  seen  from  the  Terrace  at 

Windsor  .... 

Twelve  Views  in   North  and   South   Wales,   4th 

set        . 
Two  Views  of  King  John's  Palace,  Eltham 
Tunbridge  Castle    .... 


Folio,  1779-80 
Folio,  1779 
Quarto,  1780 
Folio,  1780-3 
Quarto,  1781 

Folio,  1 781 
Folio,  1 78 1 
Folio,  1782 

Folio,  1783 

Quarto,  1786 
Folio,  1787 
Folio,  1789 


Note. — It  may  be  interesting  to  point  out  that  Angelica  Kauffmann 
was  among  the  earliest  aquatint  engravers  in  England,  two  of  her  plates, 
JOAllegra  and  La  Penserosa,  being  dated  1799,  that  is  to  say,  only  five 
years  after  the  publication  of  Sandby's  earliest  aquatints.  In  the  follow- 
ing year  she  re-issued  several  of  her  own  early  etchings  as  aquatint 
engravings,  printing  them  chiefly  in  bistre. 


CHAPTER  VI 

RUDOLPH    ACKERMANN    AND    HIS    ASSOCIATES 

Throughout  three  centuries  of  book  production  there 
is  no  more  attractive  figure  than  that  of  Rudolph 
Ackermann,  through  whose  extraordinary  enterprise 
and  spirit  of  adventure  aquatint  was  for  many  years 
successfully  applied  to  the  illustration  of  books.  The 
versatility  of  his  achievement  has  rarely  been  equalled ; 
and  the  enthusiasm  and  initiative  shown  by  him  in  all 
that  goes  to  the  making  of  fine  and  attractive  books 
marked  an  era  in  publishing  that  has  scarcely  received 
due  recognition.  His  life  is  a  stimulating  record  from 
the  unflagging  energy  with  which  he  first  originated 
his  schemes  and  then  attracted  to  himself  the  best  talent 
of  the  day  for  their  elaboration  and  execution. 

Although  our  chief  interest  for  the  moment  lies  in 
the  coloured  illustrations  with  which  he  so  lavishly 
adorned  the  volumes  issued  from  his  press,  it  is  worth 
while  to  note  the  means  by  which  he  gradually  built 
up  a  successful  business — ceaseless  personal  interest  and 
supervision,  coupled  with  a  rapid  and  intuitive  apprecia- 
tion of  the  needs  of  his  time,  however  trivial  these 
might  appear. 

Ackermann  was  born  in  1764  at  Stolberg  in  the 
Saxon    Harz,    and    in    1775    his    father    removed    his 


Rudolph  Ackermann. 

From  a  Painting  by  A.  Mouchet. 


RUDOLPH  ACKERMANN  iii 

business  of  carriage- building  and  harness-making  to 
Schneeberg,  where  Rudolph  went  to  school  until  he 
was  fifteen.  Though  he  seems  always  to  have  wished 
to  spend  his  time  with  books  rather  than  with  tools, 
he  went  into  the  factory,  but  took  more  willingly  to 
the  drawing-office  than  the  workshops.  Later  he 
removed  to  Paris,  where  he  became  the  best  pupil  of 
Carossi,  then  high  in  favour  as  a  designer  of  carriages, 
and  subsequently  came  to  London,  where  carriage- 
building  was  already  an  important  business.  Until 
1775  he,  like  Charles  Catton  and  other  artists  of  the 
day,  appears  to  have  been  employed  in  furnishing  coach- 
makers  with  designs,  and  the  state  coach  built  at  a  cost 
of  seven  thousand  pounds  for  the  Lord- Lieutenant  of 
Ireland  in  1790,  and  that  for  the  Lord  Mayor  of 
Dublin  in  1791,  are  mentioned  as  examples  of  his  taste. 
By  this  time  he  had  married  an  Englishwoman,  and 
thought  it  desirable  to  have  some  occupation  which 
could  be  carried  on  by  his  family  in  the  event  of  his 
death.  In  1795,  therefore,  he  opened  a  print  shop  in 
the  Strand  at  No.  96,  which  was  removed  the  follow- 
ing year  to  No.  loi,  where  he  had  already  revived  a 
drawing-school  formerly  managed  by  William  Shipley, 
founder  of  the  Society  for  the  Encouragement  of  Arts, 
Manufactures,  and  Commerce,  and  known  to  us  from 
Hogarth's  picture,  The  Academy  in  St  Martins  Lane. 
Henry  Pars,  a  pupil  of  Shipley  and  brother  of  the 
better  known  water-colour  artist  of  that  name,  had 
managed  the  school  after  Shipley  gave  it  up  in  1763, 
among  his  pupils  being  William  Blake,  who  at  the  age 
of  ten   "was  put  to   Mr  Pars'    drawing-school   in   the 


112  HISTORY  OF  AQUATINT 

Strand,"  but  he  too  had  retired,  and  the  room,  known 
at  the  time  as  the  British  Forum,  had  been  recently 
used  by  John  Thelwall  for  political  speeches  advertised 
by  him  as  elocutionary  lectures.  These  were  stopped 
by  the  Government  in  1794,  and  then  it  was  that 
Rudolph  Ackermann  bought  the  lease  and  reopened 
the  room  as  a  school  for  drawing.  He  had  a  master 
for  figures,  a  second  for  landscape,  and  a  third  for 
architecture ;  but,  notwithstanding  that  eighty  pupils 
were  attending  it,  in  1806  he  decided  to  close  it.  The 
reason  for  this  was  that  his  business  as  book-  and  print- 
seller  had  largely  increased,  in  addition  to  which  he  had 
become  a  dealer  in  fancy  articles  and  materials  for  artists, 
so  that  the  room  was  wanted  as  a  storehouse  for  patterns. 

The  Repository  of  Arts,  No.  10 1  Strand,  from  which 
Ackermann  issued  the  series  of  books  with  which  his 
name  is  connected,  was  on  the  site  of  Worcester  House, 
formerly  the  inn  of  the  Bishops  of  Carlisle,  but  presented 
by  the  Crown  to  the  founder  of  the  Russell  family.  From 
the  Earls  of  Bedford  it  passed  into  the  hands  of  Edward 
Somerset,  Marquis  of  Worcester,  whence  its  name.  In 
1682  his  son,  Henry  Duke  of  Beaufort,  let  part  of  the 
site,  on  which  was  erected  the  group  of  houses  known 
as  Beaufort  Buildings.  Here  lived  Charles  Lillie  the 
perfumer,  who  figures  in  the  Tatler  and  Spectator,  then 
Shipley  and  finally  Ackermann.  Curiously  enough, 
Eugene  Rimmell  subsequently  carried  on  a  like  business 
at  the  house  of  his  more  famous  predecessor,  but  all 
these  landmarks  have  now  been  buried  under  the  Savoy 
Buildings,  erected  in  1903. 

The  second  plate  in  volume  i.  of  the  famous  Reposi- 


RUDOLPH  ACKERMANN  115 

tory  of  the  Fine  Arts  represents  the  shop,  or  repository, 
as  it  was  then  the  fashion  to  call  it,  at  loi  Strand,  and 
is  followed  by  a  description  of  the  place  and  an  account 
of  the  owner's  previous  career,  in  the  course  of  which 
appears  the  following  passage : — "  During  the  period 
when  the  French  emigrants  were  so  numerous  in  this 
country  Mr  A.  was  among  the  first  to  strike  out  a 
liberal  and  easy  mode  of  employing  them,  and  he  had 
seldom  less  than  fifty  nobles,  priests,  and  ladies  of  dis- 
tinction at  work  upon  screens,  card-racks,  flower-stands, 
and  other  ornamental  fancy-works  of  a  similar  nature. 
Since  the  decree  permitting  the  return  of  the  emigrants 
to  France,  this  manufacture  has  been  continued  by 
native  artists,  who  execute  the  work  in  a  very  superior 
style,  but  it  is  impossible  in  this  place  to  notice  the 
great  variety  of  articles  which  it  embraces.  The  public 
are  referred  to  a  catalogue  of  100  pages,  which  conveys 
every  information  that  can  be  necessary."  We  note 
with  regret  that  this  may  possibly  be  the  beginning  of 
those  ingenious  horrors  with  which  it  was  the  fashion 
some  fifty  years  since  for  ladies  to  occupy  their  leisure 
and  decorate  their  homes,  nor  can  Ackermann  be  ex- 
onerated from  the  charge  of  encouraging  a  taste  for  the 
inelegant  trifling  that  has  passed  through  successive 
stages  of  woolwork,  bead  mats,  transparencies,  fretwork, 
and  the  like. 

It  is  only  possible  briefly  to  enumerate  the  various 
experiments  in  science  and  manufacture  upon  which 
Ackerman  spent  such  time  as  he  could  spare  from  his 
more  legitimate  business.  He  was  one  of  the  first  who 
found   a   means   of  waterproofing  paper,   leather,    and 


114  HISTORY  OF  AQUATINT 

woollen  fabrics,  and  had  a  factory  for  that  purpose  at 
Chelsea  during  the  early  years  of  the  last  century.  In 
1805  he  prepared  the  funeral  car  for  Lord  Nelson,  and 
in  1807  was  occupied  with  experiments  in  aerostation 
by  means  of  which  balloons  were  to  disseminate  printed 
matter.  In  1809  he  was  naturalized,  a  distinction  that 
cost  him  a  hundred  pounds. 

A  good  letter-writer,  Ackermann  wrote  and  spoke 
English  well,  though  always  retaining  a  strong  German 
accent. 

One  of  the  most  important  developments  of  his 
business  was  the  art  library  he  opened  at  the  Reposi- 
tory, a  wholly  novel  experiment  which  subsequently, 
from  the  gatherings  he  held  there,  became  one  of  the 
chief  social  institutions  of  London.  In  volume  ix. 
of  the  Repository  there  is  a  picture  of  it  accom- 
panied by  a  description  which  opens  in  the  follow- 
ing manner  : — "  Among  the  many  valuable  libraries, 
public  as  well  as  private,  which  grace  the  metropolis, 
there  was  not  one  exclusively  appropriated  to  the 
reception  of  books  on  the  subject  of  the  fine  arts. 
Sensible  of  the  utility  and  convenience  of  such  an 
establishment,  not  merely  to  the  professors,  but  also  to 
the  amateurs,  of  these  arts,  which  tend  so  powerfully 
to  embellish  social  life,  to  refine  the  passions,  and  to 
encourage  the  best  feelings  of  our  nature,  the  proprietor 
of  the  Repository  resolved  to  supply  the  desideratum. 
In  pursuance  of  that  plan,  he  last  year  proposed  to  form 
a  room,  of  which  an  accurate  representation  is  given 
in  the  annexed  engraving,  from  the  design  of  Mr  J.  B. 
Papworth,  an  architect  who  has  evinced  not  only  much 


RUDOLPH  ACKERMANN  115 

taste,  but  great  professional  skill  in  his  arrangement  of 
the  apartment,  by  overcoming  the  impediments  which 
the  site  opposed  to  his  plan.  This  room,  fifty-six  feet 
in  length  and  twenty  in  breadth,  is  elegantly  fitted  up, 
and  furnished  with  a  copious  collection  of  such  books 
as  relate  to  the  arts,  or  are  adorned  with  graphic 
illustrations,  among  which  may  be  found  the  most 
splendid  works,  both  ancient  and  modern.  This  reposi- 
tory will  not  be  confined  to  the  productions  of  the 
British  press,  but  will  embrace  all  the  fine  publications 
of  the  Continent ;  so  that  here  the  book-collector,  the 
amateur,  and  the  professor  of  fine  arts,  may  have  an 
opportunity  of  procuring  what  they  might  long  seek 
elsewhere  in  vain.  The  books  are  arranged  in  dwarf 
bookcases  round  the  sides  of  the  room,  and  the  walls 
above  them  are  covered  with  interesting  productions  of 
the  pencil.  This  apartment,  like  all  the  rest  of  Mr 
Ackermann's  premises,  is  lighted  solely  with  gas,  which 
burns  with  a  purity  and  brilliance  unattainable  by  any 
other  mode  of  illumination  hitherto  attempted." 

Ackermann  did  much  to  further  the  introduction  of 
gas,  and  A  Peep  at  the  Gas  Lights  in  Pall  Mall,  a 
caricature  made  for  him  by  Rowlandson,  dated  De- 
cember 23,  1809,  shows  the  first  of  the  thoroughfares 
lighted  in  this  way.  A  gentleman  of  fashion  tries  to 
explain  the  science  of  gas-making  to  a  lady  on  his 
arm  in  the  following  terms : — *'  The  coals  being  steamed 
produce  tar  or  paint  for  the  outside  of  houses ;  the 
smoke,  passing  through  water,  is  deprived  of  substance 
and  burns  as  you  see."  An  Irishman  overhearing  this 
exclaims  :  "  Arrah,  honey,  if  this  man  brings  fire  through 


ii6  HISTORY  OF  AQUATINT 

water  we  shall  soon  have  the  Thames  and  the  Liffey 
burnt  down  and  all  the  pretty  little  herrings  and  whales 
burnt  to  cinders ! "  Then  there  is  the  countryman  with 
his  "  Wanns,  what  a  main  pretty  light  it  be  !  We  have 
nothing  like  it  in  our  country,"  to  which  his  companion, 
who  is  a  Quaker,  replies :  "  Ay,  friend,  but  this  is  all 
vanity  ;  what  is  this  to  the  inward  light  ?  "  Apart  from 
these  stand  the  night  birds  discussing  among  themselves 
the  probable  effect  of  the  invention  on  their  own  habits 
and  customs.  Then  follows  an  amusing  and  somewhat 
lengthy  description  and  explanation  of  gas  in  which  we 
are  told  that  "when  required  to  be  lighted,  there  is 
nothing  to  indicate  its  presence — no  disturbance  in  the 
transparency  of  the  atmosphere — it  instantly  bursts  on 
the  approach  of  a  lighted  taper,  into  a  brilliant,  noiseless, 
steady  and  beautiful  flame." 

From  1818  to  1820  Ackermann  was  chiefly  taken  up 
with  a  patent  for  a  movable  axle  for  carriages,  although 
by  that  date  he  was  already  launched  upon  the  im- 
provement of  lithography,  recently  introduced  into  this 
country.  In  the  Repository  for  181 7  there  is  an  article 
on  the  technique  of  lithography,  illustrated  with  a 
lithograph  by  Prout,  and  in  18 19  he  translated  Alois 
Senefelder's  Complete  Course  of  Lithography^  the  original 
having  been  published  only  the  previous  year  at  Munich. 
Senefelder  had  taken  out  an  English  patent  for  his 
invention  as  far  back  as  1780,  but  little  had  been 
done  in  the  process  before  Ackermann  took  it  up  and 
developed  it  with  his  habitual  enthusiasm. 

But  it  was  not  only  as  a  man  of  business,  invention, 
and    capacity   that   Ackermann    attained    success    and 


RUDOLPH  ACKERMANN  117 

popularity  during  his  life  ;  he  was  also  noted  throughout 
his  career  for  his  many  schemes  of  benevolence.  We 
have  already  mentioned  his  employment  of  French  emi- 
grants ;  but  he  was  further  instrumental  in  raising  a 
large  sum  of  money  in  18 14  for  the  relief  of  Germans 
in  their  own  country,  and  particularly  in  Saxony,  after 
the  war, — an  effort  gratefully  acknowledged  by  the  king 
through  the  presentation  of  the  Order  of  Civil  Merit, 
and  by  his  countrymen  in  gifts  of  various  kinds.  The 
Spanish  exiles  who  came  over  to  England  after  181 5, 
as  the  French  had  done  a  quarter  of  a  century  earlier, 
were  also  taken  in  hand  by  him.  He  employed  them 
on  translations  and  elementary  Spanish  texts,  which  he 
not  only  published  himself  but  caused  to  be  sold  both 
in  England  and  in  branch  bookshops  throughout  South 
America. 

It  is,  however,  with  Ackermann's  benevolence  and 
generosity  to  the  artists  of  his  day  that  we  are  more 
especially  concerned,  for  to  them  we  in  a  large  measure 
owe  the  succession  of  fine  works  published  by  him, 
notably  those  with  illustrations  by  Rowlandson.  His 
relations  with  the  caricaturist  would  provide  a  chapter 
in  themselves,  for  he  was  his  constant  friend  and 
adviser,  supplying  him  with  subjects  for  his  pen  and 
keeping  him  from  too  entire  a  degradation  of  his  extra- 
ordinary talent.  Ackermann  was  indeed  one  of  the  men 
who  instinctively  knew  how  to  choose  his  subordinates  and 
coadjutors,  and  to  this  quality,  coupled  as  it  was  with  a 
liberal  reward  of  their  services,  he  owed  his  own  success 
and  the  public  a  long  range  of  really  beautiful  books. 

Among  his  experiments  in  publishing  we  must  not 


ii8  HISTORY  OF  AQUATINT 

omit  to  mention  the  introduction  from  Germany  of  the 
fashion  of  the  Taschenbuck,  or  illustrated  Annual,  which 
for  many  years  was  the  most  popular  of  gift  books. 
They  were  collections  of  short  tales  and  original  verse 
accompanied  by  line  engravings,  a  combination  of  text 
and  illustration  hitherto  quite  unknown  in  England. 
"  We  are  come,  however,  to  a  new  and  more  splendid 
species  of  pocket-book,"  says  Leigh  Hunt  in  his  essay 
on  Pocket-books  and  Keepsakes,  after  describing  these 
volumes,  pocket-books  in  a  literal  sense,  so  popular  in 
the  'twenties  : — "  It  struck  somebody  who  was  acquainted 
with  the  literary  annuals  of  Germany,  and  who  reflected 
upon  this  winter  flower-bed  of  the  booksellers — these 
pocket-books,  souvenirs,  and  Christmas  presents,  all  in 
the  lump — that  he  would  combine  the  spirit  of  all  of 
them,  as  far  as  labour,  season,  and  sizeability  went ;  and 
omitting  the  barren  or  blank  part,  and  being  entirely 
original,  produce  such  a  pocket-book  as  had  not  yet 
been  seen.  The  magician  in  Boccaccio  could  not  have 
done  better.  Hence  arose  the  Forget  -  me  -  not,  the 
Literary  Souvenirs,  the  Amulets,  and  the  Keepsakes, 
which  combine  the  original  contribution  of  the  German 
annual  with  the  splendid  binding  of  the  Christmas 
English  present."  l^\\t.  Forget-me-not 'v!\q^^sX\ov\,  started 
in  1825,  and  edited  till  its  cessation  in  1847  by  Frederick 
Shoberl,  attained  to  immediate  success  ;  a  similar 
publication,  the  Gem  for  1831,  contained  amongst  other 
things  some  of  Tennyson's  earliest  poems.  In  1829 
there  were  no  less  than  thirteen  of  these  annuals, 
including  several  for  children,  but  the  fashion  died  a 
natural   death  in   1856. 


RUDOLPH  ACKERMANN  119 

We  have  already  alluded  to  Ackermann's  library 
meetings.  From  early  in  181 3,  every  Wednesday 
evening  was  devoted  to  a  reception  in  the  large  room 
of  his  library  ;  and  thither  flocked  authors  and  artists, 
patrons  and  dilettanti,  as  well  as  foreigners  of  distinction, 
who  greatly  prized  the  opportunity  thus  offered  them 
of  an  introduction  into  the  best  social  life  of  London. 
On  these  occasions  were  exhibited  prints  and  woodcuts, 
original  drawings  by  well-known  artists  of  the  time 
and  by  those  who  hoped  to  become  better  known, 
examples  of  lithography,  and  any  similar  novelty 
connected  with  book  production,  as  well  as  the  leading 
periodicals  from  abroad.  The  following  lines  were 
written  to  commemorate  these  'conversazione'  as  the 
evening  gatherings  were  called  : — 

"  Wits,  Critics,  Poets,  Artists,  here  convene. 
And  all  accord  to  animate  the  scene ; 
Sculpture  and  Painting  well  adorn  the  Place, 
And  classic  stores  the  spacious  tables  grace. 
Study  and  converse,  with  alternate  pow'r. 
Engage,  amuse,  instruct,  the  passing  hour. 
Hence  for  improvement  Genius  here  should  haste 
And  hail  the  Mansion  as  the  Fane  of  Taste ! 
Learn  Grandeur,  learn,  from  one  in  humbler  sphere, 
Who  spreads  so  rich  a  mental  banquet  here, 
Learn  Arts  to  foster  on  this  social  plan 
And  emulate  the  zeal  of  Ackermann." 

In  1827  he  returned  to  his  first  premises  in 
96  Strand,  which  had  been  rebuilt  for  him  from  the 
designs  of  J.  B.  Papworth.  He  died  on  March  30,  1834, 
at  Finchley,  where  he  had  long  resided,  and  was  buried 
at  St  Clement  Danes. 

The  list  of  his  publications  illustrated  in  aquatint 


I20  HISTORY  OF  AQUATINT 

gives  the  names  of  those  who  helped  in  their  production. 
All  were  men  of  distinction  in  art,  literature,  or  science, 
and  all  enjoyed  his  intimacy.  They  include  the  chief 
artists  and  draughtsmen  of  the  day, — Rowlandson,  Pugin, 
Nash,  Pyne,  Mackenzie,  Fielding,  Walton,  Westall,  and 
others.  Nor  were  the  engravers  who  aquatinted  his 
plates  of  less  talent  in  their  special  line ;  S.  Mitan, 
T.  Malton,  T.  Sutherland,  J.  C.  Stadler  are  signatures 
to  be  found  at  the  foot  of  a  considerable  number.  But 
to  produce  the  countless  finished  plates  more  help  was 
required  than  that  of  artist  and  engraver  ;  a  whole  army 
of  persons  must  have  been  employed  to  colour  these 
prints.  The  point  is  of  considerable  importance.  Each 
of  these  aquatint  impressions  is  coloured  by  hand,  the 
washes  being  always  put  on  with  more  or  less  aptitude, 
often  with  great  skill  and  address.  The  amount  of 
hand-colouring  varies  greatly ;  in  some  plates  it  is  con- 
siderable, in  others  very  slight.  Possibly  the  plates  for 
a  whole  edition  would  not  all  be  printed  at  once,  but 
worked  off  as  wanted.  The  artist  would  first  make  his 
design,  and  hand  it  over  to  the  engraver  to  reproduce 
by  the  aquatint  process,  so  far  as  its  qualities  of  light 
and  shadow  were  concerned.  When  a  proof  satisfactory 
in  this  respect  was  obtained,  it  was  returned  to  the 
artist,  who  carefully  coloured  it  according  to  his  in- 
tention in  the  original  drawing.  This  then  served  as  a 
model  for  the  staff  of  colourists  whom  Ackermann  most 
probably  trained  for  the  purpose.  They  must,  indeed, 
have  been  colour  draughtsmen  of  a  high  order,  for  the 
deftness  and  delicacy  with  which  they  applied  their  tints 
in  preserving  the  effect  of  the    model  before   them  is 


RUDOLPH  ACKERMANN  121 

truly  surprising.  When  one  thinks  of  the  number  of 
impressions  required,  let  us  say,  of  the  Repository,  which, 
published  in  monthly  parts  at  3s.  6d.  each,  under  the 
editorship  of  F.  Shoberl,  had  attained  to  three  thousand 
subscribers  before  the  end  of  its  first  year,  1809,  and 
was  continued  in  a  second  and  third  series  till  the  end 
of  1828,  the  high  level  of  excellence  maintained  by 
these  unrecorded  workers  becomes  more  than  ever 
remarkable. 

Few  individual  names  have  come  down  to  us,  but 
there  are  occasional  instances  of  the  colourist's  name 
being  given  in  addition  to  that  of  the  engraver.  That 
of  J.  B.  Hogarth,  for  instance,  is  mentioned  as  the 
colourist  of  many  of  the  plates  of  Capt.  R.  M.  Grindlay's 
Scenery,  Costumes,  and  Architecture . . .  of  India,  referred 
to  in  chap,  ix.,  while  in  Picturesque  Views  of  the  Architec- 
tural Antiquities  of  Northumberland,ihQ  plates  have  what 
is  probably  a  unique  imprint : — Drawn  and  Etched  by 
T.  M.  Richardson.  Coloured  by^.  Hunter.  Engraved 
by  D.  Havell. 

In  1808  Ackermann  issued  the  first  of  his  great 
series,  all  of  which  came  out  in  monthly  parts,  to  appear 
later  in  their  final  form  of  elephant  quarto.  The 
Microcosm  of  London,  or  London  in  Miniature,  the 
Architecture  by  A.  Pugin,  the  Manners  and  Customs  by 
Thomas  Rowlandson,  was  published  in  twenty-six  parts 
at  I  OS.  6d.  each,  and  the  complete  edition  in  3  vols,  in 
1 8 10  cost  15  guineas.  The  illustrations  were  the  joint- 
work  of  Pugin  and  Rowlandson,  the  text  of  the  two  first 
volumes  was  by  W.  H.  Pyne,  that  of  the  third  by  W. 
Combe.    The  Preface  has  the  following  passage  : — "The 


122  HISTORY  OF  AQUATINT 

great  objection  that  men  fond  of  the  fine  arts  have 
hitherto  made  to  engravings  on  architectural  subjects, 
has  been,  that  the  buildings  and  figures  have  almost 
invariably  been  designed  by  the  same  artists.  In 
consequence  of  this,  the  figures  have  been  generally 
neglected,  or  are  of  a  very  inferior  cast,  and  totally 
unconnected  with  the  other  part  of  the  print ;  so  that 
we  may  sometimes  see  men  and  women  in  English 
^dresses  delineated  in  an  English  view  of  an  Italian 
palace,  and  Spanish  grandees  in  long  cloaks,  and  ladies 
in  veils,  seated  in  one  of  our  cathedrals. 

"  'The  dress,  we  know,  is  neither  new  nor  rare,^ 
But  how  the  d — 1  came  it  there  ? ' 

"  To  remove  these  glaring  incongruities  from  this 
publication,  a  strict  attention  has  been  paid,  not  only  to 
the  country  of  the  figures  introduced  in  the  different 
buildings,  but  the  general  air  and  peculiar  carriage, 
habits,  etc.,  of  such  characters  as  are  likely  to  make  up 
the  majority  in  particular  places. 

**  The  architectural  part  of  the  subjects  that  are  con- 
tained in  this  work,  will  be  delineated,  with  the  utmost 
precision  and  care  by  Mr  Pugin,  whose  uncommon 
accuracy  and  elegant  taste  have  been  displayed  in  his 
former  productions. 

"  With  respect  to  the  figures,  they  are  from  the  pencil 
of  Mr  Rowlandson,  with  whose  professional  talents  the 
public  are  already  so  well  acquainted  that  it  is  not  neces- 
sary to  expatiate  on  them  here.     As  the  following  list 

^  "  The  thing  we  know  is  neither  rich  nor  rare 
But  wonder  how  the  devil  it  got  there." 

Pope,  Epistle  to  Dr  Arbuthnot. 


RUDOLPH  ACKERMANN  123 

comprises  almost  every  variety  of  character  that  is  found 
in  this  great  metropolis,  there  will  be  ample  scope  for 
the  exertion  of  his  abilities  ;  and  it  will  be  found  that  his 
powers  are  not  confined  to  the  ludicrous,  but  that  he  can 
vary  with  his  subject,  and,  whenever  it  is  necessary, 
descend  '  From  grave  to  gay  ;  from  lively  to  severe.' " 

The  book  is  a  perfect  treasure-house  of  scenes, 
described  with  pen  and  brush,  from  the  London  of  a 
century  ago,  the  work  of  Rowlandson  and  Pugin  being 
equally  admirable.  It  depicts  the  time  of  transition  from 
the  old  to  the  new,  from  the  formal  manners  of  the 
eighteenth  century  to  the  incoming  of  modern  life  and  the 
freedom,  not  to  say  licence,  of  the  reign  of  George  IV. 
The  world  was  full  of  a  new  zest  of  living ;  nature  had 
been  discovered,  and  the  painter  was  busy  introducing 
her  to  the  public  ;  the  wars  of  Napoleon  had  quickened 
a  sense  of  patriotism  that  made  itself  felt,  both  in  litera- 
ture and  caricature ;  Hogarth  had  connected  art  with 
the  everyday  life  of  the  plain  man,  and  all  who  could 
draw  were  henceforth  to  depict  the  common  life  of  the 
common  world.  To  us  of  to-day,  when  each  successive 
year  brings  about  a  disappearance  of  the  old  landmarks, 
modern  London  and  the  London  of  the  Microcosm 
scarcely  appear  the  same  city.  Hence  the  perennial 
fascination  of  the  book.  Two-thirds  of  the  places  illus- 
trated have  entirely  passed  away,  the  Pillory,  the  Old 
Bailey,  the  King's  Bench  Prison,  the  Royal  Cockpit  in 
Birdcage  Walk,  Brooks'  Subscription  House,  where  the 
aristocratic  gamesters  of  the  day  played  by  the  light  of 
shaded  candles — these  now  live  only  in  the  pages  of 
Thackeray  and  Dickens.     The  India  House  of  Charles 


124  HISTORY  OF  AQUATINT 

Lamb  is  no  more,  the  King's  Mews  is  now  the  National 
Gallery,  and  Christie's  Auction  Room  has  become  a 
modern  palace  of  art.  About  one-third  of  the  plates, 
however,  represent  existing  buildings ;  the  British 
Museum,  the  Royal  Institution,  the  Post  Office,  the  Royal 
Hospital,  Chelsea,  are  all  there,  though  in  surroundings 
very  different  from  those  which  now  prevail.  In  the 
Print  Room  at  the  British  Museum  can  be  seen  two 
of  Rowlandson's  original  sketches  for  the  Microcosm, 
Christies  Auction  Room  and  Mounting  Guard  at  St 
James  s  Park,  which  are  shown  side  by  side  with 
the  corresponding  aquatint  engraving.  Pugin's  own 
autograph  copy  of  the  Microcosm,  is  in  the  possession 
of  Mr  Yates  Thompson.  Pugin  bound  up  in  it  a  set  of 
uncoloured  plates  as  well  as  the  coloured  ones,  and  also 
1 1 8  of  the  preliminary  sketches,  mostly  in  pencil,  which 
he  made  for  the  illustrations  and  which  were  obviously 
sent  to  Rowlandson  that  he  might  add  the  figures.  The 
different  manner  in  which  the  two  artists  used  the  pencil 
is  very  interesting ;  the  delicacy  of  Pugin's  draughtsman- 
ship and  the  dash  of  Rowlandson's  character  studies 
form  a  striking  contrast,  and  the  whole  book  affords  a 
rare  opportunity  of  seeing  every  plate  in  its  several 
stages. 

Ackermann's  next  work,  intended  as  a  '  companion 
and  continuation'  of  the  Microcosm  of  London,  was  The 
History  of  the  Abbey  Church  of  St  Peter's,  Westminster. 
It  was  published  in  sixteen  monthly  numbers  and  issued 
in  two  volumes  in  1812  at  ;^i5.  It  is  not  as  interesting 
in  plates  or  text  as  either  the  Microcosm  or  the  succes- 
sion of  books  on  the  Universities  and  Public  Schools, 


<  ^ 


u 


RUDOLPH  ACKERMANN  125 

but  Ackermann  himself  was  very  proud  of  it,  as  may  be 
seen  from  the  following  account  taken  from  the  life  of 
John  Pap  worth  the  architect,  who  was  the  friend  and 
assistant  of  the  publisher  in  many  of  his  ventures. 
"  During  the  early  part  of  this  period,  Ackermann  had 
issued  his  History  of  Westminster  Abbey  (181 2),  and 
when  complete,  he  had  all  the  original  drawings  for  the 
seventy  plates  which  had  been  made  by  Aug.  Pugin, 
Fred  Mackenzie,  H.  Villiers,  G.  Shepherd,  Thomp- 
son, T.  Unwin,  and  W.  J.  White,  bound  up  with  the 
letterpress  printed  on  vellum,  making  a  unique  copy. 
Mr  Papworth  prepared  a  special  design,  with  Gothic 
details,  for  the  brass  mountings  and  clasps  for  the  two 
volumes,  which  cost  ^120.  This  copy  Ackermann 
valued  so  highly  that  he  used  to  provide  a  pair  of  white 
kid  gloves  for  the  use  of  the  person  to  whom  was 
granted  the  favour  of  inspecting  it  He  sent  a  copy  of 
the  book  to  Mr  Papworth  inscribed  with  his  sincere 
regards  and  a  draft  for  ;^50."  ^ 

Next  in  the  series  come  The  History  of  the  University 
of  Oxford  and  The  History  of  the  University  of  Cam- 
bridge, published  in  18 14  and  181 5  respectively.  Of 
the  thousand  copies  issued  in  monthly  parts,  beginning 
in  181 3,  the  price  of  the  first  five  hundred  was  12s.  6d. 
and  of  the  second  1 6s.  a  part.  There  was  also  a  supple- 
mentary series  of  portraits  of  founders  of  the  Colleges, 
thirty-two  for  the  Oxford  volume  and  fifteen  for  the 
Cambridge,  in  line  and  stipple,  hand  coloured,  but  of 
slight  interest,  without  any  engraver's  name.  The 
volumes  in  their   final    form    were    priced    at    £\6    in 

*  JJfe  of  J.  B.  Papworth,  by  Wyatt  Papworth.     Privately  Printed,  1879. 


126  HISTORY  OF  AQUATINT 

elephant  1  and  £2']  in  atlas  quarto.  They  are  often 
found  without  the  supplementary  plates,  and  Ackermann 
provided  in  his  index  for  binding  *  with  or  without  the 
founders.'  These  two  books  are  among  the  finest  ever 
executed.  A.  Pugin,  F.  Nash,  F.  Mackenzie  and  W. 
Westall  were  associated  in  the  drawings,  which  are  worthy 
even  of  the  splendid  architectural  monuments  they  com- 
memorate, while  the  engraving  was  carried  out  by  such 
masters  of  aquatint  as  J.  Bluck,  J.  C.  Stadler,  F.  C. 
Lewis,  D.  Havell  and  others  of  like  reputation.  The 
result  was  the  production  of  plates  of  unequalled  merit 
in  their  particular  line.  Some  of  the  original  drawings 
can  be  seen  in  the  Victoria  and  Albert  Museum,  and  the 
National  Art  Library  has  a  copy  of  the  Oxford  edition, 
with  the  plates  on  India  paper  uncoloured. 

The  Universities  were  followed  by  a  History  of  the 
Colleges  (18 16),  which  included  Winchester,  Eton,  West- 
minster, Charterhouse,  St  Paul's,  Merchant  Taylors', 
Harrow,  Rugby  and  Christ's  Hospital.  It  was  issued, 
like  its  predecessors,  in  monthly  parts  and  at  the  same 
price,  but  was  completed  in  one  volume  and  sold  for 
seven  guineas.  The  same  artists  were  employed  upon 
it  as  upon  the  Oxford  and  Cambridge,  to  which  it  is  a 
worthy  companion.  When  one  thinks  that  these  three 
splendid  volumes  were  completed  in  three  successive 
years,  one  can  but  marvel  at  the  industry  of  artists, 
authors  and  publisher.  In  all  of  them  it  may  be 
observed  that  many  of  the  aquatints  are  printed  in  two 
colours,  a  blue  tint  for  the  sky  and  a  brown  for  buildings, 
trees  and  foreground,  in  addition  to  the  hand  colouring. 

*  Elephant  quarto  measures  14x11^,  atlas  quarto  i6^x  13  inches. 


RUDOLPH  ACKERMANN  127 

Ackermann  next  turned  his  attention  to  the  production 
of  important  books  on  travel  and  scenery,  but  these  will 
be  dealt  with  in  a  subsequent  chapter ;  and  we  will  pass 
on  to  another  of  his  serial  ventures  which  had  an  extra- 
ordinary popularity  in  its  day,  and  is  even  now  a  store- 
house of  amusement. 

T\\^  Repository  of  Arts,  Literature,  Comme^'ce,  Manu- 
factures, Fashions  and  Politics  was  a  monthly  magazine 
published  at  4s.  a  number,  the  first  of  which  appeared 
on  January  2,  1809.  It  will  thus  be  seen  that  it  was 
appearing  at  the  same  time  as  the  fine  art  publications  just 
described.  Its  aim  was  to  provide  a  popular  imitation 
of  the  Gentleman  s  Magazine  and  the  European  Magazine  ; 
this  last,  a  periodical  of  established  reputation,  dealing 
with  life  and  politics  in  a  serious  manner.  The  Repository 
was  illustrated  with  every  form  of  engraving,  woodcut, 
line,  stipple,  and,  after  1817,  with  lithographs,  while  the 
number  of  coloured  aquatints  was  throughout  very  con- 
siderable. Its  popularity  was  immediate,  and  before  a 
year  was  out  the  number  of  subscribers  had  reached  a 
thousand.  There  was  hardly  a  subject  that  it  did  not 
deal  with ;  art  exhibitions,  book  notices  and  reviews,  all 
find  a  place,  many  of  the  contributions  being  of  sufficient 
importance  to  be  subsequently  reprinted,  as  will  be  seen 
from  Appendix  C.  Under  the  editorship  of  Frederick 
Shoberl  (1775- 1853),  whom  we  have  met  in  connection 
with  the  Annuals,  it  continued  till  the  end  of  1828,  the 
whole  issue  consisting  of  a  first  series  of  fourteen  volumes, 
a  second  of  fourteen  and  a  third  of  twelve. 

The  fourth  number  of  the  Repository,  April  1809, 
gave  the  prospectus  of  still  another  serial  which  was  to 


128  HISTORY  OF  AQUATINT 

be  even  more  sought  after  than  the  Repository^  in  conse- 
quence of  the  appearance  in  it  of  the  famous  Tour  of 
Dr  Syntax.  This  was  the  Poetical  Magazine^  which 
was  apparently  estabHshed  as  a  receptacle  for  the 
'  elegant '  versifying  that  was  thrust  upon  Ackermann 
for  the  Repository.  It  lived  three  years,  its  only  title  to 
fame  being  the  Tour  of  Dr  Syntax,  with  its  illustrations 
by  Rowlandson,  all  in  coloured  aquatint,  the  other  plates 
being  unimportant  views  of  Italian  and  English  scenery. 
Shoberl,  who  had  had  some  experience  of  journalism 
as  originator  and  co-proprietor  with  Henry  Colburn 
of  the  New  Monthly  Magazine  in  1814,  besides 
conducting  the  Repository  and  Forget- Me- Not,  already 
alluded  to,  edited  the  text  of  The  World  in  Minia- 
ture, which  started  in  monthly  parts  in  1821  and 
was  brought  to  a  close  in  1827.  The  forty-two 
duodecimo  volumes  form  a  valuable  record  of  costume, 
the  numerous  plates  being  in  line  and  stipple,  coloured 
by  hand.  The  last  four,  dealing  with  England,  Scotland 
and  Ireland,  were,  however,  edited  by  W.  H.  Pyne  who, 
as  the  author  of  The  Costume  of  Great  Britain  (^i^oZ),  had 
already  shown  himself  interested  in  the  subject.  For 
Ackermann  again  Shoberl  translated  Illustrations  of 
Japan,  from  the  French  of  Isaac  Titsingh,  for  fourteen 
years  chief  of  the  Dutch  East  India  Company's  settlement 
at  Nagasaki,  interesting  as  a  first-hand  work  on  Japan 
written  by  one  of  the  earliest  collectors  of  Japanese  prints. 
Japan  appears  to  have  had  a  considerable  attraction  for 
English  readers  ever  since  Dryden's  translation  of  the 
Life  of  S.  Franfois  Xavier  in  1683.  Some  half-dozen 
books  on  the  subject  were  published  within  our  period, 


RUDOLPH  ACKERMANN  129 

but  of  these  only  Shoberl's  appears  to  be  illustrated  in 
aquatint,  a  somewhat  singular  fact  when  the  popularity 
of  that  medium  for  the  illustration  of  books  of  travel 
is  taken  into  account.  Shoberl  also  wrote  several  original 
works,  only  one  of  which,  however,  A  Picturesque  Tour 
from  Geneva  to  Milan,  was  illustrated  in  aquatint. 

Ackermann  does  not  appear  to  have  contributed  any 
text  to  his  publications,  with  the  exception  of  the 
prefaces  to  the  Public  Schools,  the  Picturesque  Tour 
of  the  English  Lakes,  and  the  Loyal  Volunteers  of 
London  and  Environs  (1789),  with  Rowlandson's  eighty- 
seven  plates  of  infantry  and  cavalry  in  their  respective 
uniforms.  The  following  extract  from  the  last  work  is 
a  fair  example  of  his  style  ;  fortunately  for  literature, 
the  cacoethes  scribendi  was  not  his  weakness.  "  The 
high  fermented  state  of  Politics  at  Home,  in  conjunc- 
tion with  the  crooked  policy  of  enemies  Abroad^  was 
truly  alarming  ;  for  the  perturbed  spirits  of  France  were 
hastening  the  progress  of  the  disorder,  while  internal 
disaffection  made  all  the  way  it  could  for  its  extension. 
At  this  moment  the  enemy  had  advanced  their  best 
regulated  legions  to  the  shores  of  the  British  Channel ; 
and  for  the  determined  purpose  of  spreading  through  our 
land  miseries  as  have  already  rendered  wretched  their 
own — Miseries  that  have  deluged  with  human  blood  the 
most  polished  parts  of  Europe! — Terrors!  that  have 
half  depopulated  mighty  Empires !  pillaged  Industry 
of  its  well-earned  Property  ;  and  of  that  which  is  still 
dearer  to  reflecting  minds.  Domestic  Quietude  ! 

"  As  a  detester  of  Gallic  atrocities,  and  from  a  sincere 
attachment  to  the  best  of  Sovereigns,  the  Proprietor  of 


I30  HISTORY  OF  AQUATINT 

this  Work  cheerfully  contributes  his  Mite  towards  the 
general  welfare  of  a  Country,  that  has  from  early  time, 
like  a  sturdy  rock,  amidst  the  buffetings  of  the  storm  and 
insolence  of  the  billows,  raised  fearless  its  gorgeous  head 
to  Heaven,  yielding  matchless  fruits  beneath  a  blaze  of 
sunshine  and  unremitted  salubrity.  If  such  exertions 
as  the  Proprietor's  may  lead  to  public  notice  and 
encouragement,  his  highest  wishes  are  accomplished ; 
and  (though  as  diminutive  as  the  waters  of  a  rill,  to 
augment  the  mighty  Ocean)  he  will  rejoice  that  he  has 
blended  his  splendid  trifle." 

Ackermann  would  appear  to  have  tried  his  hand  also 
at  engraving,  for  his  name  appears  once  at  least  in  that 
capacity  on  two  plates  in  Nelsons  Funeral  Procession. 

William  Combe  (i 741- 1823),  who  produced  so  much 
of  the  text  for  Ackermann's  publications,  like  Rowland- 
son,  with  whom,  through  the  patronage  of  the  publisher, 
he  was  long  associated,  was  perhaps  the  most  versatile 
writer  that  has  ever  lived.  Educated  at  Eton  and 
Oxford,  he  left  without  taking  a  degree,  and  travelled 
for  three  years  in  France  and  Italy,  making  the  acquaint- 
ance of  Sterne.  On  returning  to  England  he  lived  in  a 
princely  fashion  that  gained  for  him  the  nickname  of 
Count  Combe,  but,  squandering  a  fortune  left  him  by 
an  uncle,  he  was  obliged  to  disappear  from  his  fashion- 
able haunts.  He  is  said  during  these  years  of  want  to 
have  been  successively  a  common  soldier,  a  waiter  at 
Swansea,  a  teacher  of  elocution,  a  cook  in  the  Jesuit 
College  at  Douai,  and  a  private  in  the  French  army. 
Only  such  a  career  could  have  given  him  that  many-sided 
experience  of  life  which  supplied  him  with  the  material  for 


•     RUDOLPH  ACKERMANN  131 

his  multifarious  journalism.  About  1772  he  returned  to 
London,  and  began  the  systematic  writing  on  anything 
and  everything  that  had  such  remarkably  prolific  results 
in  the  next  fifty  years.  His  vices  seem  to  have  been 
chiefly  gambling  and  an  extraordinary  extravagance,  for 
he  drank  no  wine  in  the  days  when  such  self-restraint 
was  practically  unknown.  Although  a  list  of  his  writ- 
ings occupies  five  columns  in  the  Dictionary  of  National 
Biography,  there  are  probably  others  yet  unattributed, 
for  his  aliases  were  many,  owing  to  the  fact  that  he 
spent  most  of  his  life  as  a  debtor  in  the  King's  Bench 
Prison.  His  ready  pen  was  at  the  service  of  any 
political  party,  and  through  his  connection  with  Pitt  he 
received  an  income  of  £200  a  year.  On  Pitt's  death,  he 
offered  his  services  to  Lord  Musgrave,  but  without  the 
financial  result  that  he  hoped  for.  It  may  safely  be  said 
that  there  was  no  subject  to  which  he  did  not  apply  his 
exceptional  versatility.  Sermons  and  topography,  history 
and  politics,  satire  and  biography,  were  alike  to  him,  and 
were  treated  with  equal  facility  by  his  well-stored  mind. 
The  chief  event  of  his  literary  career  was  undoubtedly 
his  *  discovery '  by  Ackermann,  when  he  was  already 
sixty-eight,  and  occupied  in  writing  sermons  for  a  living. 
The  acquaintance  resulted  in  Dr  Syntax  in  Search  of  the 
Picturesque,  a  work  which  made  his  reputation,  and  was 
the  precursor  of  others  of  a  like  humorous  nature.  The 
story  of  the  origin  of  Dr  Syntax  has  often  been  told,  and 
need  only  be  very  briefly  alluded  to  here.  When  Acker- 
mann published  his  Poetical  Magazine  in  1 809,  Thomas 
Rowlandson  (1756- 1827)  offered  him  a  series  of  drawings 
depicting  the  varied  fortunes  of  a  travelling  schoolmaster 


132  HISTORY  OF  AQUATINT 

in  search  of  the  picturesque,  the  idea  being  possibly  sug- 
gested by  the  writings  of  W.  Gilpin.  Ackermann,  with 
his  eye  for  a  successful  speculation,  at  once  saw  that  the 
sketches  were  likely  to  make  the  fortune  of  his  magazine, 
especially  if  associated  with  a  rhyming  text.  In  the 
preface  to  the  second  edition  Combe  writes:  "  An  etching 
or  drawing  was  sent  me  every  month,  and  I  composed  a 
certain  proportion  of  pages  in  verse,  in  which,  of  course, 
the  subject  of  the  design  was  included  :  the  rest  depended 
on  what  my  imagination  could  furnish.  When  the  first 
print  was  sent  to  me  I  did  not  know  what  would  be  the 
subject  of  the  second ;  and  in  this  manner,  in  a  great 
measure,  the  artist  continued  designing  and  I  continued 
writing  every  month  for  two  years,  till  a  work  containing 
nearly  two  thousand  lines  was  completed."  Every  month 
therefore  saw  Combe  pinning  up  his  sketch  on  a  screen 
in  his  room  in  the  King's  Bench,  and  with  that  for  his 
inspiration  making  copy  for  the  printer  as  required. 

The  life  of  Combe,  written  by  J.  C.  Hotten  and 
prefixed  to  his  edition  of  Dr  Syntax s  Three  Tours, 
published  in  1869,  gives  a  very  vivid  presentment  of 
the  popularity  attained  by  the  book.  Syntax  was  the 
name  given  to  everything — wigs,  coats  or  racehorses. 
By  18 19  it  had  reached  an  eighth  edition,  and  had  given 
rise  to  a  number  of  parodies  and  imitations,  besides 
being  translated  into  French  and  German.  The  pub- 
lisher then  engaged  both  Rowlandson  and  Combe  to 
undertake  a  second  series,  Doctor  Syntax  in  Search  of 
Consolation,  which,  like  the  first,  was  issued  in  monthly 
parts  at  a  guinea  each,  and  when  completed  in  1820  was 
likewise  published  in  octavo  form.     This  was  followed 


RUDOLPH  ACKERMANN  133 

the  next  year  by  the  third  and  last  tour,  Dr  Syntax  in 
Search  of  a  Wife,  issued  uniformly  with  the  others. 
The  original  drawings  for  the  aquatints  of  the  first 
edition  are  in  the  Dyce  Collection  at  South  Kensington. 
In  1823  a  pocket  edition  was  issued  with  fresh  plates  in 
three  volumes  i6mo,  instead  of  8vo,  the  price  being 
seven  shillings  a  volume.  Combe  wrote  the  rhyming 
text  to  the  History  of  Madeira  when  in  his  seventy-ninth 
year,  and  the  last  of  his  literary  efforts  for  Ackermann, 
The  History  of  Johnny  Qtc(B  Genus,  was  published  in  the 
following  year,  1823,  which  was  also  the  year  of  his  death. 
Combe  is  so  interesting  a  figure  that  it  may  be 
worth  while  to  give  a  full-length  portrait  of  him  in  later 
life  as  drawn  by  a  candid  observer.  Henry  Crabb 
Robinson  in  his  Diary  thus  writes  under  the  year  1 809  :  ^ 
"  There  is  another  person  belonging  to  this  period  who 
is  a  character  certainly  worth  writing  about ;  indeed,  I 
have  known  few  to  be  compared  with  him.  It  was  on  my 
first  acquaintance  with  Walter  (of  the  Times)  that  I  used 
to  notice  in  his  parlour  a  remarkably  fine  old  gentleman. 
He  was  tall,  with  a  stately  figure  and  handsome  face. 
He  did  not  appear  to  work  much  with  the  pen,  but  was 
chiefly  a  consulting  man.  When  Walter  was  away  he 
used  to  be  more  at  the  \Ti7nes^  office,  and  to  decide  in  the 
dernier  ressort ;  his  name  was  W.  Combe.  It  was  not 
till  after  I  had  left  the  office  [H.  C.  R.  was  at  one  time 
foreign  editor  of  the  Times'\  that  I  learned  what  I  shall 
now  relate.  At  this  time  and  until  the  end  of  his  life 
he  was  an  inhabitant  of  the  King's  Bench  Prison,  and 
when  he  came  to  Printing- House  Square  it  was  only  by 

*  Diary  of  H.  C.  /?.,  3rd  ed.,  pp.  153-4. 


134  HISTORY  OF  AQUATINT 

virtue  of  a  day  rule.  I  believe  that  Walter  offered  to 
release  him  from  prison  by  paying  his  debts.  This  he 
would  not  permit,  as  he  did  not  acknowledge  the  equity 
of  the  claim  for  which  he  suffered  imprisonment.  He 
preferred  living  on  an  allowance  from  Walter,  and  was, 
he  said,  perfectly  happy.  He  used  to  be  attended  by  a 
young  man  who  was  a  sort  of  half-servant,  half-com- 
panion. Combe  had  been  for  many  years  of  his  life  a  man 
of  letters,  and  wrote  books  anonymously.  Some  of  these 
acquired  a  great  temporary  popularity.  One  at  least, 
utterly  worthless,  was  for  a  time,  by  the  aid  of  prints  as 
worthless  as  the  text,  to  be  seen  everywhere — now  only 
in  old  circulating  libraries.  This  is  '  The  Travels  of 
Dr  Syntax  in  search  of  the  Picturesque.'  It  is  a  long 
poem  in  eight-line  verse ;  in  external  form  something 
between  Prior  and  Hudibras,  but  in  merit  with  no  real 
affinity  to  either.  Combe  wrote  novels  ;  one  I  recollect 
reading  with  amusement — '  The  German  Gil  Bias.'  He 
was  also  the  author  of  the  famous  '  Letters  of  a  Noble- 
man to  his  Son,'  generally  ascribed  to  Lord  Lyttleton. 
Amyot  told  me  that  he  heard  Windham  speak  of  him. 
'  I  shall  always  have  a  kindness  for  old  Combe,'  said 
Wyndham,  '  for  he  was  the  first  man  that  ever 
praised  me,  and  when  praise  was  therefore  worth  hav- 
ing.' That  was  in  '  Lord  Lyttleton's  Letters.'  Combe 
had,  as  I  have  said,  the  exterior  of  a  gentleman.  I 
understand  that  he  was  a  man  of  fortune  when  young, 
and  travelled  in  Europe,  and  even  made  a  journey  with 
Sterne ;  that  he  ran  through  his  fortune,  and  took  to 
literature,  '  when  house  and  land  were  gone  and  spent,' 
and  when  his  high  connections  ceased  to  be  of  service. 


RUDOLPH  ACKERMANN  135 

Of  these  connections,  and  of  the  adventures  of  his  youth, 
he  was  very  fond  of  talking,  and  I  used  to  enjoy  the 
anecdotes  he  told  after  dinner,  until  one  day,  when  he 
had  been  very  communicative,  and  I  had  sucked  in  all 
he  related  with  greedy  ear,  Fraser  said,  laughing,  to 
Walter,  '  Robinson,  you  see,  is  quite  a  flat ;  he  believes 
all  that  old  Combe  says.' — '  I  believe  whatever  a  gentle- 
man says  till  I  have  some  reason  to  the  contrary.' 
— '  Well,  then,'  said  Fraser,  *  you  must  believe  nothing 
he  says  that  is  about  himself.  What  he  relates  is  often 
true,  except  that  he  makes  himself  the  doer.  He  gives 
us  well-known  anecdotes,  and  only  transfers  the  action 
to  himself.'  .  .  .  This  infirmity  of  old  Combe  was 
quite  notorious.  Amyot  related  to  me  a  curious  story 
which  he  heard  from  Dr  Parr.  The  Doctor  was  at  a 
large  dinner-party  when  Combe  gave  a  very  pleasant  and 
interesting  account  of  his  building  a  well-known  house 
on  Keswick  Lake ;  he  went  very  much  into  details,  till 
at  last  the  patience  of  one  of  the  party  was  exhausted, 
and  he  cried  out,  '  Why,  what  an  impudent  fellow  you 
are !  You  have  given  a  very  true  and  capital  account  of 
the  house,  and  I  wonder  how  you  learned  it ;  but  that 
house  was  built  by  my  father ;  it  was  never  out  of  the 
family,  and  is  in  my  own  possession  at  this  moment.' 
Combe  was  not  in  the  least  abashed,  but  answered,  with 
the  greatest  nonchalance^  *  I  am  obliged  to  you  for  doing 
justice  to  the  fidelity  of  my  description  ;  I  have  no  doubt 
it  is  your  property,  and  I  hope  you  will  live  long  to 
enjoy  it. ' " 

If  the  alliance  of  Combe  and  Rowlandson  proved 
from  their  kindred  temperaments  particularly  fortunate. 


136  HISTORY  OF  AQUATINT 

the  alliance  of  Rowlandson  with  Ackermann  proved 
even  more  profitable,  alike  to  publisher  and  artist. 
The  reputation  of  Rowlandson  has  reached  its  zenith 
during  the  last  few  years  and  has  resulted  in  a  mono- 
graph ^  on  the  man  and  his  works  which  must  henceforth 
be  the  source  to  which  all  will  go  who  want  both  a 
personal  impression  and  the  most  complete  biblio- 
graphical detail.  Rowlandson,  spendthrift  as  he  was, 
owed  almost  everything  to  Ackermann,  who  gave  him 
his  friendship,  helped  him  with  money,  co-operated  with 
him  in  his  many  schemes,  and  did  all  that  he  could 
to  promote  the  sale  of  his  drawings.  It  was  probably 
through  Ackermann's  influence  that  the  books  illustrated 
by  Rowlandson  for  him  were  free  from  the  coarseness 
that  was  the  note  of  the  day,  and  that  marred  so  much 
of  the  artist's  work  in  caricature. 

Thomas  Rowlandson  went  straight  from  Dr  Barrow's 
school  in  Soho  Square  to  work  as  a  student  of  the  Royal 
Academy.  His  uncle  had  married  a  Frenchwoman,  and 
at  the  age  of  sixteen  he  went  to  Paris  at  her  invitation 
to  study  art  there.  After  two  years  he  returned  to  the 
schools  of  the  Royal  Academy,  later  on  going  to  Paris 
a  second  time.  In  1775  he  first  exhibited  at  the 
Academy,  and  two  years  later  set  up  as  a  portrait 
painter  in  Wardour  Street.  Promising  as  his  work 
undoubtedly  was,  his  almost  fatal  facility,  combined 
with  a  passion  for  the  boisterous  life  of  the  streets,  caused 
him  to  devote  more  and  more  of  his  time  to  depicting 
groups  of  figures  in  motion  and  to  satirizing  the  char- 
acteristics of  the  society  of  his  day.  In  1781  the  social 
*  Thomas  Rowlandson.     F.  Grego.     2  vols.    London,  1880. 


RUDOLPH  ACKERMANN  137 

pictures  sent  by  him  to  the  Royal  Academy  proved  that 
the  change  from  serious  artist  to  caricaturist  had  begun  ; 
in  1786-87  he  exhibited  similar  works,  his  name  thence- 
forth disappearing  from  the  catalogues.  The  financial 
difficulties  of  his  father's  last  years  did  not  affect 
Rowlandson,  as  his  aunt  liberally  supplied  him  with 
money,  and  at  her  death  left  him  ;^7ooo,  which  he 
squandered  at  gaming  tables,  exclaiming,  when  left 
penniless  after  a  night's  sitting,  *  I've  played  the  fool, 
but  here  '  (holding  up  his  pencils),  '  here  is  my 
resource.' 

From  the  first  he  succeeded  without  apparent  effort, 
throwing  off  many  hundreds  of  drawings,  tinted  with  a 
most  delicate  sense  of  colour.  This  feeling  for  the  use 
of  pure  clear  colour  did  much  to  forward  the  advance- 
ment of  water-colour  painting.  It  seems  as  if  there 
were  no  branch  of  art  in  which  he  might  not  have 
excelled.  He  sometimes  etched  and  aquatinted  his  own 
drawings,  though  they  were  more  frequently  handed 
over  to  an  engraver.  He  certainly  could  have  made 
a  first-rate  landscape  painter,  and  his  mastery  of  the 
etching  needle  showed  his  command  of  the  technique 
of  engraving.  But  his  facility  of  invention,  and 
riotous  imagination  backed  with  a  superabundant 
vitality,  together  with  his  association  with  Gillray, 
Wigstead  and  Bunbury,  seem  to  have  forced  him  into 
the  ranks  of  the  caricaturists,  and  it  is  possibly  again 
due  to  Ackermann  that  we  have  even  so  much  as  we 
have  of  his  more  serious  achievement.  He  took  a 
prominent  part  in  the  Napoleonic  satire  that  raged  in 
England  during  the  time   of    Bonaparte's   attempts   to 


138  HISTORY  OF  AQUATINT 

become  the  despot  of  Europe,  and  though  we  are  now 
ashamed  of  this  incident  in  our  Hterary  past,  it  was 
in  truth  but  the  coarse  attempt  of  a  coarse  age  to 
show  its  patriotic  zeal.  The  caricaturists,  however, 
undoubtedly  helped  to  manufacture  a  good  deal  of 
ignorant  antipathy,  with  the  well-merited  result  that 
their  unattractive  efforts  to  encourage  patriotism  are 
among  the  least  sought-after  of  their  works.  Whether 
his  subject  were  Napoleon  or  Vauxhall,  Dr  Syntax  or 
the  Microcosm  of  London,  political  and  social  satire 
occupied  him  until  his  death.  His  illustrations  to  the 
novelists  were  less  successful ;  Peter  Pindar  was  more 
akin  to  his  genius  than  the  Vicar  of  Wakefield,  and 
none  of  his  enduring  work  lies  in  this  section.  William 
Combe  supplied  him  with  material  for  some  of  his 
most  congenial  efforts,  not  only  in  Dr  Syntax,  but  in 
Johnny  Qtue  Genus  and  the  English  Dance  of  Death. 

In  spite  of  his  gambling  and  pleasure-loving  pro- 
pensities, Rowlandson  in  1800  married  a  Miss  Stuart 
of  Camberwell,  but  left  no  children.  '  Master  Rowley ' 
seems  to  have  inspired  considerable  affection  in  his 
time,  and  to  J.  T.  Smith,  both  friend  and  pupil,  we 
owe  a  sketch  of  him  as  an  old  man  which  has  the 
interest  of  being  thirty  years  later  in  date  than  any 
other  portrait.  He  died  in  his  rooms  in  the  Adelphi 
after  a  two  years'  illness  in  1827. 

No  better  picture  of  the  rollicking  life  of  the  day 
led  by  Rowlandson  and  his  associates  can  be  found  than 
that  given  by  his  school  friend  and  intimate,  Henry 
Angelo  the  fencing-master,  in  his  Reminiscences.  Here 
we  read  of  the  fun  and  frolic  of  his  boyhood,  his  life 


RUDOLPH  ACKERMANN  139 

in  Paris,  the  evenings  at  Vauxhall  with  John  Bannister 
the  comedian,  the  drinking  and  gambling  that  filled 
up  the  intervals  of  work.  W.  H.  Pyne,  too,  has  left 
some  pleasant  gossip  of  him  in  Wine  and  Walnuts — 
*the  merry  wag,'  as  he  calls  him,  "he  who  has  covered 
with  his  never-flagging  pencil  enough  of  charta  pura 
to  placard  the  whole  walls  of  China,  and  etched  as 
much  copper  as  would  sheathe  the  British  navy."  And 
again,  "  Master  Rowley,  so  friendly  dubbed  by  many  an 
old  convive,  would  have  taken  higher  flights  had  he  so 
willed,  for  he  could  draw  with  elegance  and  grace ;  and 
for  design,  no  mind  was  ever  better  stored  with  thought, 
no  genius  more  prolific.  Nothing,  even  allowing  for 
caricature,  could  exceed  in  spirit  and  intelligence  some 
of  the  offhand  compositions  of  this  worthy."  ^ 

At  a  time  when  Rowlandson  was  producing  drawings 
faster  even  than  the  demand  for  them,  Ackermann  seems 
to  have  foreseen  that  it  might  be  necessary  to  find  a 
fresh  outlet  if  the  artist's  prices  were  not  to  be  lowered. 
In  this  way  it  occurred  to  him  that  Rowlandson's  talents 
might  be  applied  to  book  illustration  for  their  mutual 
profit.  The  monthly  publications  already  described 
offered  an  ample  field,  and  henceforth  the  artist  was 
at  least  assured  of  a  living.  As  regards  the  preparation 
of  his  drawings  for  illustration  the  method  of  procedure 
seems  to  have  been  as  follows.  From  a  carefully- 
finished  drawing  of  the  original  design  he  himself 
etched  the  outline  straight  on  to  a  copper  plate.  On 
an  impression  taken  from  this  plate  he  put  in  the 
shadows,  distances  and   modelling   of  forms  in   Indian 

*  Somerset  House  Gazette,  ii.  p.  347. 
I 


I40  HISTORY  OF  AQUATINT 

ink.  The  print  was  then  handed  to  one  of  Ackermann's 
engravers,  who  transferred  the  shadows  in  aquatint  to 
the  copperplate.  Another  proof  was  then  taken,  which 
Rowlandson  most  carefully  coloured  as  a  model  for  the 
staff  of  *  washers '  kept  by  Ackermann  for  the  hand- 
colouring  of  the  thousands  of  prints  required  for  his  fine- 
art  publications. 

Aquatint  was  used  by  Rowlandson  in  a  great  many 
of  his  book  illustrations  as  well  as  in  several  detached 
plates  and  caricatures.  The  list  given  in  Appendix  D 
is  possibly  not  quite  complete.  Grego's  list  of  books 
with  plates  by  Rowlandson,  full  as  it  is,  does  not  contain 
all ;  and  some  additional  ones  are  given  in  F.  Lewine's 
Bibliography  of  Eighteenth  Century  Art  and  Illustrated 
Books.  Only  personal  inspection,  however,  can  decide 
which  books  have  etchings  only  or  etching  in  combina- 
tion with  aquatint,  and  there  are  still  a  few  that  we  have 
been  unable  to  trace. 

Not  the  least  important  of  Ackermann's  collaborators 
was  William  Henry  Pyne  (1769- 1843),  etcher  and  painter 
as  well  as  writer,  though  perhaps  best  known  through  the 
delightful  gossip  about  art  and  artists,  published  under 
the  name  of  Ephraim  Hardcastle.  The  son  of  a  leather- 
seller  in  Holborn,  he  was  placed  in  the  drawing-school 
of  Henry  Pars,  to  whom  he  declined  to  be  apprenticed, 
but  under  whose  tuition  he  obtained  a  great  facility  in 
drawing.  His  work  for  a  long  time  consisted  principally 
of  landscapes,  drawn  in  water  colours  in  the  early  tinted 
style.  He  was  an  exhibitor  at  the  Royal  Academy  for 
the  first  time  in  1790,  and  for  the  last  in  181 1,  having 
become  one  of  its  bitterest  opponents,  and  was  also  one 


RUDOLPH  ACKERMANN  141 

of  the  original  members  of  the  Old  Water  Colour  Society 
when  it  was  founded  in  1804.  ^'s  name  will  be  found, 
both  as  artist  and  author,  on  several  of  the  books  in 
Appendix  A.  His  first  work  in  book  illustration  was 
a  title-page  and  vignettes  etched  by  him  for  Natte's 
Practical  Geometry,  published  in  1805  ;  in  the  same  year 
he  began  to  issue,  in  parts,  his  Microcosm,  a  work  of 
considerable  charm  and  interest,  which  is  still  to  be 
acquired  for  a  comparatively  small  sum.  The  title 
describes  it  in  detail  : — Microcosm,  or  a  Picturesque 
Delineation  of  the  Arts^  Agriculture  and  Manufactures 
of  Great  Britain  in  a  Series  of  above  a  Thousand  Groups 
of  Small  Figtires  for  the  Embellishment  of  Landscape  .  .  . 
the  whole  accurately  drawn  from^  nature  and  etched  by  W. 
H.  Pyne,  and  aquatinted  by  J.  Hill,  to  which  are  added 
explanations  of  the  Plates  by  C.  Gray.  Some  of  the 
original  drawings  for  this  work  are  in  the  Print  Room  of 
the  British  Museum.  His  next  work  was  The  Costume 
of  Great  Britain,  which  appeared  in  1808,  designed, 
engraved  and  written  by  himself.  It  was  the  seventh 
and  last  volume  of  an  important  series  of  books  on 
costume  illustrated  chiefly  in  stipple  and  published 
by  W.  Miller  between  1801  and  1808,  the  volumes 
being  sold  at  a  price  of  six  to  eight  guineas,  and 
all  except  Pyne's  work  having  a  French  as  well  as 
English  text.  The  whole  set,  comprising  yjT,  engrav- 
ings, was  published  at  ;^48,  i6s.  6d.  Pyne's  book, 
illustrated  in  aquatint,  is  by  far  the  best  of  the 
series,  and  the  charm  noticeable  in  the  groups  and 
rustic  figures  of  the  Microcosm  is  even  more  ap- 
parent where    he    is   illustrating    old  English  customs 


142  HISTORY  OF  AQUATINT 

and  occupations.  He  had  an  instinct  for  the  different 
types  of  the  working  classes,  which  is  very  obvious  in 
such  plates  as  Coalheavers  and  a  Smithfield  Drover.  The 
Costumes  of  Great  Britain  was  followed  in  1 8 1 2  by  Rudi- 
ments of  Landscape  Drawing  in  a  Series  of  Easy  Ex- 
amples^ with  aquatint  plates  ;  Etchings  of  Rustic  Figures 
for  the  Embellishment  of  Landscape  in  1 8 1 5  ;  and  On 
Rustic  Figures  in  Imitation  of  Chalk  in  1 8 1 7,  the  two  last 
being  in  hard  and  soft  ground  etching  respectively. 

Pyne  became  connected  with  Ackermann  about  1803, 
and  came  by  degrees  to  occupy  himself  more  with 
writing  than  painting,  providing  the  text  or  part  of  it  for 
many  of  Ackermann's  publications.  It  is  not  perhaps 
surprising  that,  being  himself  designer,  painter,  engraver 
and  author,  he  should  become  enamoured  of  book 
production.  His  great  effort  in  this  direction  was  the 
large  and  costly  work  entitled  The  History  of  the  Royal 
Residences  of  Windsor  Castle,  St  Jameses  Palace,  Carlton 
House,  Kensington  Palace,  Hampton  Court,  Buckingham 
House  and  Frogmore,  illustrated  by  one  hundred  coloured 
aquatint  views  and  published  by  Ackermann  in  1829. 
Pyne  only  wrote  the  text ;  of  the  original  drawings  fifty- 
nine  were  by  C.  Wild,  twenty-five  by  J.  Stephanoff,  nine 
by  R.  Cattermole,  six  by  W.  Westall  and  one  by  G. 
Samuel.  Of  these  thirty-six  are  engraved  by  T. 
Sutherland,  twenty-three  by  W.  J.  Bennett,  twenty-eight 
by  R.  Reeve,  eleven  by  D.  Havell,  and  two  by  J.  Bailey. 
There  is  a  copy  of  The  Royal  Residences  in  the  National 
Art  Library  with  no  hand  colouring,  from  which  we  see 
that  the  interior  views  had  only  one  printed  colour  and 
the  exteriors  two — a  blue  for  the  sky  and  a  brown  for 


RUDOLPH  ACKERMANN  143 

buildings  and  foregrounds.  It  is  very  instructive  to 
compare  this  with  the  fine  finished  copy  in  the  British 
Museum  which  has  the  addition  of  expert  colouring  by 
hand.  It  is  undoubtedly  a  very  sumptuous  book  for 
which  author,  artist,  engraver  and  publisher  alike  did 
their  best,  but,  though  successful,  it  involved  Pyne  in 
serious  money  difficulties,  and  he  was  more  than  once 
confined  for  debt  in  the  King's  Bench  Prison.  The 
chief  work  of  his  later  life,  his  easy  chat  on  men  and 
manners,  has  supplied  many  a  word  picture  to  writers  on 
the  art  of  his  time.  The  papers  contributed  to  W. 
Jerdan's  Literary  Gazette  were  republished  in  1823  as 
Wine  and  Walnuts,  or  After  Dinner  Chit  Chat,  and 
Pyne  also  edited  The  Somerset  House  Gazette,  which 
appeared  in  fifty-two  weekly  numbers  at  6d.,  the  year's 
work  being  subsequently  collected  in  two  small  quarto 
volumes  which,  like  his  earlier  books,  are  a  storehouse  of 
anecdote  and  a  valuable  record  of  contemporary  art.  He 
also  contributed  to  two  other  important  magazines  of  the 
time,  Arnold's  Magazine  of  the  Fine  Arts  and  Library 
of  the  Fine  Arts,  both  of  which  give  much  valuable 
contemporary  criticism. 

Pyne  received  in  the  course  of  his  long  life  abundant 
recognition,  both  at  home  and  from  foreign  academies, 
but  as  an  old  man  he  lived  in  obscurity  and  neglect,  and 
died  after  a  long  illness  in  1843. 

Among  Pyne's  associates  and  assistants  in  the  Royal 
Residences  was  John  Buonarotti  Papworth  (1775- 1847), 
one  of  Ackermann's  most  prominent  supporters,  not  only 
an  architect  of  considerable  repute,  but  also  a  designer 
of  decorations,  furniture  and  every  sort  of  accessory  to 


144  HISTORY  OF  AQUATINT 

the  house,  and  particularly  of  shop  fronts  for  the  display 
of  gas  and  plate  glass,  in  addition  to  which  he  vras 
frequently  employed  as  a  landscape  gardener.  In  1813 
he  built  the  great  hall  (56  ft.  x  20  ft.)  together  with  the 
tea-room  and  staircase,  for  Ackermann's  premises  in  the 
Strand,  intended  as  a  lounge  for  visitors  and  a  show- 
room for  the  newest  works  of  art  of  all  kinds.  He  also 
contributed  both  prose  and  verse,  as  well  as  drawings, 
to  the  Repositoryy  and  confided  to  Ackermann  the 
publication  of  the  most  important  of  his  many  works. 
His  Select  Views  of  London,  containing  seventy-six 
unsigned  plates  to  which  he  wrote  the  text,  is  a  very 
interesting  record  of  past  London,  with  representations 
of  City  churches  and  other  topographical  features  now 
no  longer  in  existence.  The  Preface  opens  with  the 
following  sententious  introduction  :  "  The  Metropolis 
of  a  country  so  distinguished  for  its  opulence,  for  the 
munificence  of  its  public  bodies,  and  the  liberality  of  its 
individuals,  must  be  interesting  in  all  its  features.  The 
portraits  of  its  palaces,  churches,  public  buildings  and 
squares,  are  useful  commentaries  of  its  history — they 
present  documents  of  our  national  character,  and  record 
the  progressive  advancement  of  our  commerce,  science 
and  arts."  It  goes  on  to  state  that  the  republication  was 
"  increased  by  several  Plates,  those  which  had  previously 
appeared  having  been  under  the  hands  of  the  engraver 
for  improvement  and  higher  finish."  He  also  wrote 
fourteen  chapters  of  the  Poetical  Sketches  of  Scarborough, 
a  light  social  satire  illustrated  with  twenty-one  attractive 
plates  etched  by  Rowlandson  after  J.  Green,  the  aquatint 
being    added    by   J.    Bluck   and   J.    C    Stadler.     The 


RUDOLPH  ACKERMANN  145 

Advertisement  states  that  "the  originals  of  the  plates 
introduced  into  this  volume  were  sketches  made  as 
souvenirs  of  the  place  during  a  visit  to  Scarborough 
in  the  season  of  181 2.  They  were  not  intended  for 
publication,  but  being  found  to  interest  many  persons  of 
taste,  several  of  whom  expressed  a  desire  to  possess 
engravings  of  them  ;  and  some  gentlemen  having  offered 
to  add  metrical  illustrations  to  each  the  present  form  of 
publication  has  been  adopted.  The  several  authors 
were  not  personally  acquainted  with  each  other  : — if  this 
circumstance,  and  that  of  every  design  having  been 
made  previously  to  the  composition  of  a  single  couplet, 
be  considered  fair  ground  of  extenuation  for  faults,  they 
claim  its  advantages."  Then  follows  a  pleasant  account 
of  Scarborough  in  very  amusing  doggerel  to  which 
Combe  was  also  a  contributor. 

Augustus  Pugin  (i  762-1832),  who  made  so  many 
drawings  for  The  Microcosm  of  London,  The  History  of 
the  Abbey  Church  of  St  Peters,  Westminster,  and  the 
Histories  of  the  Universities  and  Colleges,  was  born  in 
France  and  came  to  England  at  the  time  of  the  French 
Revolution,  having  fought  a  duel  in  Paris  which  obliged 
him  to  leave  the  country.  He  at  once  found  a  post 
as  draughtsman  to  John  Nash,  already  a  celebrated 
architect,  and,  in  order  to  become  more  useful  to  his 
employer  entered  as  a  student  at  the  Royal  Academy. 
Remembering  that  a  drawing  -  master  to  his  father's 
family  in  France  lived  somewhere  in  London,  Pugin 
made  inquiries'  and  found  that  the  person  in  question 
was  Merigot,  the  aquatint  engraver,  under  whose  tuition 
he  made  great  progress.     The  contemporary  passion  for 


146  HISTORY  OF  AQUATINT 

building  private  houses  in  imitation  of  mediaeval  castles 
and  monastic  buildings  suggested  to  Nash  that  Pugin 
might    collect    materials    for   a   publication   on    Gothic 
architecture.     Pugin  threw  himself  into  the  work  with 
great   enthusiasm,    and   soon    became    an    architectural 
draughtsman  of  considerable  repute.     He  travelled  with 
his  pupils  over  Europe  in  order  to  sketch  and  measure 
such  details  of  buildings  as  seemed  to  him  desirable,  and 
his  first  work,   Specimens  of  Gothic  Architecture,   was 
dedicated  to  Nash.     The  plates  which  formed  his  first 
introduction  to  book  illustration  are  for  the  most  part  of 
a  high  order  of  merit.     Augustus  Pugin  was  thus  the 
great  pioneer  in  the  introduction  of  Gothic  architecture 
into  England,  though  it  was  left  to  his  son  Augustus 
Welby  to  adapt  it  successfully  to  modern  needs.     The 
interest   in   Gothic  architecture  which   Nash    had    thus 
aroused  in   Pugin   resulted  in  his  office  soon  becoming 
the  most  popular  training  school  for  young  artists,  and  a 
large  number  of  pupils,  some  of  whom  attained  distinction, 
passed  through  his  hands.     Benjamin  Ferrey,  author  of 
Recollections  of  the  Pugins,  was  a  pupil,  so  also  was 
Joseph  Nash,   while  Charles  James    Matthews,  son    of 
Pugin's  old  friend  the  actor,  though  destined  to  follow 
in  his  father's  footsteps,   came  to    him  for  four  years. 
Matthews,    in    the    Autobiography   edited    by    Charles 
Dickens,  gives  a  pleasant  picture  of  his  master.     "  Water- 
colour   drawing,"    he   says,    "  was   at   that   time   in    its 
infancy,  and  architects  flew  to  him  to  have  their  plans 
and   elevations   put   into   correct   perspective   and   sur- 
rounded with  the  well-executed  and  appropriate   land- 
scapes Pugin  was  so  skilful  in  producing.  .  .  .   He  was 


RUDOLPH  ACKERMANN  147 

a  delightful  instructor.  In  business  hours  strict  enough 
and  firm  enough  to  command  obedience  and  respect,  at 
other  times  he  was  all  gaiety  and  good  humour,  making 
himself  quite  the  companion  of  his  pupils,  and  joining  in 
all  their  amusements  with  the  ardour  of  a  boy.  It  was 
a  singular  fact  that,  though  he  had  been  domesticated  in 
England  for  some  forty  years,  and  spoke  English  per- 
fectly, as  far  as  volubility  was  concerned,  his  French 
accent  and  his  French  idioms  were  as  marked  as  if  he 
had  only  recently  arrived.  If  he  talked  in  his  sleep  he 
talked  in  French,  and  in  computing  money  he  always 
mentally  reduced  the  pounds  and  shillings  into  francs 
before  he  could  ascertain  their  exact  value.  He  was  a 
charming  artist,  and  produced  his  effects  by  the  most 
simple  means,  confining  himself  literally  to  the  use  of 
the  three  colours — indigo,  light  red,  and  yellow  ochre."  * 
Another  architect  who  became  known  about  two  years 
after  Pugin,  and  who  also  devoted  himself  to  spreading 
a  knowledge  of  Gothic  architecture,  was  Charles  Wild 
(1781-1835),  who  was  articled  in  early  youth  to  Thomas 
Mai  ton,  Turner's  master  in  perspective.  In  1803  he 
began  to  exhibit  at  the  Royal  Academy,  and  in  1809 
became  an  associate  of  the  Old  Water  Colour  Society, 
of  which  in  later  life  he  was  treasurer  and  secretary.  In 
1807  he  began  a  long  series  of  studies  of  English 
Cathedrals  for  the  fine  volumes  published  under  his 
name,  and  contributed  fifty-nine  out  of  the  hundred 
drawings  for  the  illustration  of  Pyne's  Royal  Residences, 
and  three  plates  to  Sir  George  Naylor's  Coronation  of 

^  The  Life  of  Charles  fames  Matthews.     Edited  by   Charles   Dickens. 
2  vols.,  1879. 


148  HISTORY  OF  AQUATINT 

George  IV.  The  latter  is  a  ponderous  work  with 
highly  coloured  plates,  mostly  of  costume,  in  aquatint, 
mezzotint  and  stipple,  those  after  Wild,  the  Proclama- 
tion at  Carlton  House  and  the  Royal  Banquet  in 
Westminster  Hall,  being  the  most  interesting.  Like 
Prout,  he  went  to  sketch  abroad  as  soon  as  the  Con- 
tinent was  open  after  the  war,  and  prepared  a  number 
of  studies  of  the  foreign  cathedrals  similar  to  the 
English  series  already  published.  After  the  year  1827 
he  became  gradually  blind,  and  in  1833  resigned  his 
membership  of  the  Old  Water  Colour  Society,  having 
contributed  in  all  one  hundred  and  eight  pictures  to  its 
exhibitions.  The  number  of  works  illustrated  by  him  is 
very  considerable ;  some  contain  etchings,  some  line 
engravings,  others  again  aquatints,  the  last  volume  not 
being  published  till  after  his  death. 

In  Ferrey's  Recollections  of  the  Pugins,  we  find  the 
following  record  of  John  Nash,  "  the  humble  builder  of 
Swansea": — "Perhaps  no  professional  man  ever  attained 
greater  success  in  his  pursuits  than  John  Nash.  He 
was  the  especial  favourite  of  George  IV.,  being  his 
private  architect,  and  engaged  by  the  king  to  make  the 
alterations  and  additions  at  Buckingham  Palace  ;  he  also 
built  the  Pavilion  at  Brighton.  Possessed  of  a  large  pro- 
fessional income,  Nash  lived  in  a  style  of  some  splendour 
at  his  house  in  Regent  Street,  receiving  his  employers 
in  a  spacious  and  beautiful  gallery,  adorned  with  the 
choicest  sculpture  and  pictures ;  and  possessing  East 
Cowes  Castle  in  the  Isle  of  Wight,  where  he  was  visited 
by  many  of  the  leading  families  of  the  aristocracy." 

It  was  in  the  year  1820,  when  engaged  in  building 


RUDOLPH  ACKERMANN  149 

the  Pavilion  at  Brighton,  that  Nash  received  the  King's 
commands  to  produce  a  printed  work  that  could  be  given 
as  a  souvenir  to  his  royal  guests.  Nash  requested  Pugin 
to  make  the  drawings,  and  the  result  was  a  volume  of  some 
importance.  Each  plate  is  in  duplicate,  the  one  being  a 
delicate  pen  and  ink  outline-drawing,  the  other  a  highly 
finished  coloured  aquatint. 

Nash  designed  the  Regent's  Park  and  most  of  its 
adjacent  crescents,  built  Regent  Street,  the  Quadrant, 
the  Hay  market  opera  and  theatre  houses,  the  United 
Service  Club,  the  Marble  Arch,  and  laid  out  St  James's 
Park ;  he  had  indeed  a  great  opportunity,  and  it  must  be 
a  constant  regret  that  he  did  not  prove  himself  more 
worthy  of  it.  His  monotonous  use  of  stucco  drew  upon 
him  the  well-known  epigram  in  the  Quarterly  Review  for 
June,  1826 : — 

"  Augustus  at  Rome  was  for  building  renown'd. 
For  of  marble  he  left  what  of  brick  he  had  found ; 
But  is  not  our  Nash,  too,  a  very  great  master. 
He  finds  us  all  brick  and  he  leaves  us  all  plaster." 

Frederick  Nash  (1782- 1856)  was  another  architect 
and  draftsman  whose  work,  that  of  an  accomplished 
painter,  gave  great  distinction  to  Ackermann's  History  of 
the  Universities  of  Oxford  and  Cambridge.  He  was  no 
relation  either  to  John  Nash,  the  architect  just  men- 
tioned, or  to  Joseph  Nash,  whose  work  belongs  to  a 
later  date.  He  was  in  the  Academy  schools  in  the  early 
days  of  the  presidency  of  West,  and  at  the  age  of 
eighteen  exhibited  his  first  view  of  Westminster  Abbey, 
a  subject  to  which  he  recurred  again  and  again.  For  the 
next  ten  years  he  was  in  the  service  of  engravers,  con- 


I50  HISTORY  OF  AQUATINT 

tributing  twenty  drawings  to  Britton's  Beauties  of  Eng- 
land and  Wales  between  1801  and  1809,  five  plates  to  the 
same  editor's  Architectural  Anti^uz'ties  in  1807,  Twelve 
Views  of  the  Antiquities  of  London  in  1805-10,  and  A 
Series  of  Views  of  the  Collegiate  Chapel  of  St  George  at 
Windsor,  nine  aquatint  plates  for  which  he  wrote  the 
explanatory  text.  He  was  a  member  of  the  Associated 
Artists  and  of  the  Old  Water  Colour  Society,  and  in 
1803  was  appointed  draughtsman  to  the  Society  of 
Antiquaries,  his  work  for  them  being  engraved  as  the 
Vetusta  Monumenta.  Another  important  work  which  he 
illustrated  was  Picturesque  Views  of  the  City  of  Paris 
and  its  Environs^  published  in  two  quarto  volumes  in 
1819-23.  He  received  five  hundred  guineas  for  these 
drawings,  which  were  subsequently  bought  by  Sir  Thomas 
Lawrence  for  ^250,  after  they  had  been  engraved  in  line. 
One  of  these.  The  Waterworks  at  Versailles,  is  at  South 
Kensington,  and  shows  that  in  these  drawings  of  Paris 
he  adopted  a  style  much  lighter  and  gayer  than  that 
which  characterised  the  more  sombre  and  dignified  work 
done  for  the  Ackermann  books. 

Thomas  Uwins  (1782- 1857),  one  of  the  younger 
members  of  the  Water  Colour  Society,  drew  the  faces 
and  figures  in  the  coloured  fashion-plates  of  the  Reposi- 
tory, and  also  contributed  some  of  the  critical  articles. 
He  had  started  in  life  by  making  designs  for  book 
illustration,  and  copying  pictures  for  engravers,  at  a 
time  when  line  engraving  was  an  important  branch  of 
art.  His  other  work  for  Ackermann  consisted  in  seven- 
teen drawings  of  costume  for  the  History  of  the  University 
of  Oxford,  and  fifteen  for  the  History  of  the  University 


RUDOLPH  ACKERMANN  151 

of  Cambridge,  all  engraved  in  line  and  stipple  by  J.  Agar, 
as  well  as  four  drawings,  likewise  of  costume,  for  the 
History  of  the  Colleges^  rendered  in  line  by  the  same 
engraver. 

Frederick  Mackenzie  (1788- 1854)  was  a  pupil  of  John 
Adey  Repton,  the  architect,  a  son  of  Humphrey  Repton, 
to  whom   the  next  chapter   is  devoted,  who,   together 
with  his  brother,   John   Stanley,  a   pupil   of  Augustus 
Pugin,  worked  for  John  Nash.     Like  so  many  draughts- 
men with  an  architectural  training,   Mackenzie  devoted 
himself  to  topographical  drawing  for  the  press  instead 
of  to   actual    construction.     Like    Prout,   he   owed   his 
early  start  to    Britton   the  architectural  antiquary,  and 
was  first  associated  with  John  and  Henry  Le  Keux  in 
The  Beauties  of  England  and  Wales.     He   also  con- 
tributed twenty-five  designs  to  the  Architectural  Anti- 
quities  of  Great  Britain,  fifty-eight   of  the   plates   to 
Britton's  Cathedral  Antiquities,  and  collaborated   with 
Pugin  in  his  Specimens  of  Gothic  Architecture.     Of  his 
work  in  connection  with  Ackermann's  finest  publications, 
we  note  that  thirty-two  of  the  drawings  of  The  History 
of  the  Abbey  Church  of  St  Peters,  Westminster,  are  by 
him,    nineteen    in    The   History   of  the    University   of 
Oxford,    twenty   in   the   History   of  the    University  of 
Cambridge,  and  fourteen  in  The  History  of  the  Colleges. 
He  was   associated   likewise  with    William  Westall    in 
The  Abbeys  and  Castles  of  Yorkshire,  and  with  Robert 
Havell  in  his  Series  of  Picturesque  Views  of  Noblemefi 
and  Gentlemen' s  Seats,  both  published  by  Ackermann. 
Mackenzie  was   a   member   of  the  Old  Water  Colour 
Society,  but  was  not  a  prolific  exhibitor,  and  his  subjects 


152  HISTORY  OF  AQUATINT 

consisted  almost  entirely  of  buildings  and  interiors. 
Together  with  Nash  and  Pugin  he  forms  a  triumvirate 
of  architectural  draftsmen  who  both  separately  and  in 
association  did  much  to  foster  an  intelligent  interest  in 
the  picturesque  side  of  ancient  buildings. 

With  the  death  of  Rudolph  Ackermann  the  great 
artistic  era  of  his  Press  may  be  said  to  have  ended ; 
but  many  interesting  works  continued  to  appear,  and 
among  them  we  may  note  the  Epitome,  Historical  and 
Statistical,  descriptive  of  the  Royal  Naval  Service  of 
England,  by  E.  Miles  and  Lieutenant  L.  Miles  (1841) 
The  eight  coloured  plates  of  shipping  by  N.  Fielding, 
after  drawings  by  W.  Knell,  are  spirited  and  highly 
attractive,  and  the  book  must  be  one  of  the  latest  in 
the  illustration  of  which  aquatint  was  employed. 


CHAPTER  VII 

HUMPHREY    REPTON    AND    HIS    PLACE    IN 
GARDEN    LITERATURE 

Some  of  the  finest  books  illustrated  by  the  aquatint 
process  are  those  of  Humphrey  Repton  (1752-1818) 
of  gardening  fame.  Originally  published  in  one  folio 
and  three  quarto  volumes,  they  were  re-issued  in  1840 
in  an  octavo  volume  by  J.  C.  Loudon,  author  of  the 
EncyclopcBdia  of  Gardening,  whose  historical  sketch  of 
gardening  at  the  beginning  of  his  dictionary  is  still  the 
best  comprehensive  survey  of  the  subject.  Repton's 
books  in  their  original  form  are,  on  account  of  the  beauty 
of  their  aquatint  plates,  among  the  most  sought-after 
illustrated  works  of  the  period.  His  matter,  as  well  as 
his  views  of  landscape  gardening  and  landscape  archi- 
tecture, is  full  of  interest,  and  may  be  most  con- 
veniently studied  in  Loudon's  edition,  where,  however, 
the  illustrations  are  reproduced  in  small  vignette  engrav- 
ings of  very  poor  quality,  which  give  little  idea  of  the 
originals. 

Humphrey  Repton  was  the  son  of  John  Repton,  a 
collector  of  excise  at  Bury  St  Edmunds,  where  he  was 
sent  to  school  for  a  time  until  his  parents  removed  to 
Norwich,  a  town  whose  manufactures  were  then  largely 
exported.  In  1764,  Repton's  father  sent  him  to  Holland, 
hoping   to   direct  his  interests  into   business   channels 

153 


154  HISTORY  OF  AQUATINT 

On  his  return  to  Norwich  at  the  age  of  sixteen,  he 
was  put  to  learn  business,  but  his  real  love  was  for 
drawing,  and  in  later  life  he  thus  alludes  to  the  part 
it  played  in  his  career: — "It  was  to  my  early  facility 
and  love  of  the  art  of  drawing,  that  I  am  indebted,  not 
only  to  success  in  my  profession,  but  for  more  than  half 
the  enjoyments  of  my  life.  When  I  look  back  to  the 
many  hundred  evenings  passed  in  the  circle  of  my  own 
family — drawing  and  representing  to  others  what  I  saw 
in  my  imagination,  I  may  reckon  this  art  among  the 
most  delightful  of  my  joys." 

He  married  at  the  age  of  twenty-one,  and  his  father 
at  once  gave  him  enough  to  start  in  business  as  a  general 
merchant.  But  he  had  no  natural  taste  for  that  mode 
of  life,  and,  after  a  few  years  in  which  losses  and  failures 
predominated,  retired  to  the  country,  taking  up  his 
abode  at  Sustead,  near  Aylsham,  where  his  sister  lived 
in  the  family  house.  The  five  years  that  he  passed  there 
were  spent  in  that  study  of  every  department  of  out-door 
life  which  yielded  so  rich  a  harvest  later  in  his  career. 
He  amused  himself  by  making  drawings  of  the  seats  of 
the  nobility  and  gentry  in  the  neighbourhood,  many 
of  which  he  gave  to  their  respective  owners  ;  others 
went  to  illustrate  the  History  of  Norfolk,  a  work  then 
being  issued  in  ten  volumes,  to  the  letterpress  of  which 
he  also  contributed.  He  had  free  access  to  the  library 
of  his  neighbour  Mr  Windham,  and  when,  in  1783, 
Mr  Windham  was  made  Secretary  to  Lord  Northing- 
ton,  then  Lord- Lieutenant  of  Ireland,  Repton  went 
with  him  to  Dublin  as  his  confidential  secretary. 
Repton s    family   was  rapidly  increasing;    he  could  no 


\ 


>     b 


HUMPHREY  REPTON  155 

longer  be  content  with  the  life  of  leisure  he  had 
hitherto  led,  and  the  occasion  seemed  to  offer  him 
the  opportunity  he  needed.  But  Mr  Windham 
threw  up  his  appointment  at  the  end  of  a  month, 
and  after  six  weeks  spent  in  settling  the  affairs  of  his 
patron,  Repton  returned  to  reconsider  his  position,  found 
that  it  involved  retrenchment,  and  at  once  removed  his 
family  to  a  little  cottage  at  Harestreet,  Essex,  where  he 
spent  the  remaining  forty  years  of  his  life.  This  cottage, 
with  its  very  small  garden,  was  for  long  the  admiration 
of  the  passer-by,  and  seems  to  have  been  an  instance 
of  what  can  be  done  by  skill  and  taste  in  a  very  circum- 
scribed space.  For  some  time  after  his  death  "  Repton's 
Cottage  "  was  the  object  of  many  a  pilgrimage,  but  by 
1840  it  had  been  changed  beyond  recognition. 

Repton's  next  move  was  to  associate  himself  with 
a  Mr  Palmer  who  was  then  occupied  in  an  attempt  to 
organise  the  postal  service  by  means  of  mail  coaches. 
So  sanguine  was  Repton  of  success  that  he  sank  the 
remainder  of  his  capital  in  the  project,  only  to  find  that 
he  was  as  unsuccessful  in  that  as  he  had  been  both  as 
merchant  and  farmer.  But  after  this  experience  he 
seems  to  have  had  an  intuition  that  he  might  find  profit 
in  his  actual  tastes  and  interests,  and  with  characteristic 
energy  he  at  once  set  to  work  to  become  what  he  hence- 
forth describes  himself — a  Landscape  Gardener.  Ever 
since  his  early  days  in  Holland  he  had  studied  the 
adaptation  of  natural  scenery  to  gardens,  and  his  descrip- 
tion of  the  grounds  bordering  Dutch  waterways,  as  seen 
from  a  canal-boat,  sums  up  in  a  vivid  picture  all  the 
features  of  the  formal  garden  nationalised  by  a  people 


156  HISTORY  OF  AQUATINT 

whose  ideas  of  landscape  were  limited  by  the  small  and 
artificial  character  of  their  country.  Henceforth  Repton 
was  consulted  alike  by  the  greatest  landowner  and  the 
smallest  proprietor  who  desired  to  modify  his  country 
estate  in  accordance  with  the  changing  taste  of  the  times 
and  the  self-conscious  attitude  of  the  public  mind  towards 
nature. 

As  he  travelled  in  a  carriage  from  house  to  house  on 
these  professional  visits,  he  adopted  a  habit  of  writing 
notes  concerning  the  improvement  of  the  place  he  had 
visited,  and  these  he  bound  in  a  small  book  containing 
maps  and  sketches  showing  the  alterations  proposed. 
This  he  called  the  Red  Book  of  the  place,  and  it  is  from 
the  opinions  collected  in  two  hundred  such  volumes  and 
borrowed,  as  he  tells  us,  from  the  respective  owners  for 
the  purpose,  that  he  composed  his  published  works, 
sometimes  adopting  only  the  substance,  sometimes 
quoting  the  actual  words.  The  plates  are  facsimiles 
of  his  sketches  in  these  books,  engraved  in  aquatint 
by  various  artists,  and  it  is  evident  that  from  the  first 
they  excited  considerable  admiration.  On  more  than 
one  occasion  he  deprecated  the  exclusive  attention  paid 
them,  and  in  his  Advertisement  to  the  second  of  his 
publications,  Observations  on  the  Theory  and  Practice 
of  Landscape  Gardening  {1803)  he  says:  "I  must 
therefore  entreat  that  the  plates  be  rather  considered 
as  necessary  than  ornamental ;  they  are  introduced  to 
illustrate  the  arguments  rather  than  attract  the  atten- 
tion. I  wish  to  make  my  appeal  less  to  the  eye  than 
to  the  understanding." 

As  Repton   occupies   a  very  definite   place   in   the 


HUMPHREY  REPTON  157 

history  of  gardening,  it  may  be  of  interest  to  explain  tliat 
position  by  a  brief  survey  of  the  growth  of  gardens. 
His  books  also  occupy  an  equally  definite  place  in  garden 
literature,  a  topic  of  fascinating  interest  for  all  time. 

Though  outside  the  scope  of  this  chapter,  it  may  be 
said  in  passing  that  it  is  possible  to  trace  the  complete 
development  of  the  English  language  in  the  literature 
of  this  subject  alone.  There  are,  in  fact,  few  English 
writers  in  whose  works  one  cannot  find  some  gem  of 
fancy  or  some  flawless  phrase  that  has  for  inspiration  the 
theme  of  gardens. 

Down  to  the  last  half  of  the  eighteenth  century,  the 
prevailing  style  of  laying  out  the  grounds  that  surround 
a  house  had  been  that  generally  known  as  Architectural, 
though  sometimes  called  also  Geometrical  or  Regular. 
But  whatever  the  title,  the  underlying  idea  was  the 
same,  that  of  considering  the  grounds  as  one  with  the 
house,  part  of  a  comprehensive  scheme  designed  by  the 
architect  and  following  the  lines  of  the  buildings. 

The  earliest  gardens,  those  of  monasteries,  were 
planned  rather  from  the  point  of  view  of  convenience 
than  of  pleasure.  In  them  simples  were  grown  from 
which  were  made  the  common  remedies  for  sickness,  as 
well  as  the  ordinary  herbs  used  in  the  kitchen,  an 
important  addition,  considering  that  monks  were  bound 
by  their  vows  to  eat  only  pulse,  vegetables  and  fruit 
gathered  by  their  own  hands.  These  gardens  were 
generally  a  parallelogram  enclosed  by  a  wall,  with  the 
different  herbs  and  flowers  grown  in  separate  plots. 

The  characteristics  of  the  Tudor  garden  were  moats 
and  walls,  at  whose  corners,  or  in  prominent  parts  of 


158  HISTORY  OF  AQUATINT 

the  enclosure,  were  placed  *  mounds '  or  *  mounts ' 
ascended  by  steps,  from  which  a  prospect  could  be 
obtained  over  the  open  country.  These  mounts  were 
formed  of  stone,  wood  or  earth,  sometimes  turfed  or 
terraced,  at  others  surmounted  by  trees,  or  an  arbour 
with  climbing  plants.  Flowers  were  in  '  railed  beds,' 
beds  surrounded  by  '  wands'  or  railings  of  low  trellis- work, 
often  painted  in  the  Tudor  colours  of  green  and  white, 
a  form  of  enclosure  subsequently  succeeded  by  box 
edging.  In  the  sixteenth  century  there  were  in  addition 
*  knotted  beds/  laid  out  in  intricate  geometrical  patterns 
in  very  varied  designs  or  in  fanciful  shapes  of  animals, 
such  as  are  alluded  to  in  Love's  Labour's  Lost,  Act  i., 
sc.  i.,  'the  west  corner  of  thy  curious  knotted  garden'; 
and  by  Bacon,  in  his  Essay  Of  Gardens,  where  we  read 
of  the  ideal  garden,  its  Greene,  its  Stately  Hedge,  its 
Faire  Mount,  and  its  Covert  Alley;  "As  for  the 
Making  of  Knots,  or  Figures,  with  Divers  Coloured 
Earths,  .  .  .  they  be  but  Toyes  :  You  may  see  as  good 
Sights,  many  times,  in  Tarts."  There  were  also  arbours 
or  garden  houses  built  into  the  garden  walls,  against 
which  were  placed  '  galleries '  made  of  poles  and  trellis- 
work  planted  with  creepers.  Dials  and  fish-ponds,  again, 
were  typical  features,  and,  perhaps  most  characteristic  of 
all,  the  '  topiary '  work,  in  which  trees  were  grown  and 
cut  to  some  quaint  pattern — a  fashion  that  lasted  well 
into  the  eighteenth  century,  and  was  more  than  once 
satirised  by  Pope. 

In  Italy,  France  and  Holland  the  same  geometrical 
style  prevailed,  though  modified  by  the  special  geo- 
graphical   and    national    characteristics    of    the    three 


HUMPHREY  REPTON  159 

countries.  In  Italy,  a  hilly  country,  yvhere  national 
taste  demands  the  architectural  style,  there  were  grand 
flights  of  steps,  terrace  walls  from  which  to  look  out  over 
the  adjoining  landscape,  gates  and  pillars,  vases,  statues 
and  fountains,  all  the  sculptured  accessories  in  fact  that 
pertain  to  building.  In  the  time  of  Elizabeth  Italy  was 
.the  country  that  swayed  the  taste  of  England  in  land- 
scape, as  well  as  in  literature  and  the  fine  arts,  and  the 
Tudor  gardens,  while  retaining  the  features  above  men- 
tioned, were  modified  in  accordance  with  Italian  taste. 
There  were  wide  terraces,  flights  of  steps  of  fine 
proportions,  straight  walks  or  '  forthrights,'  correspond- 
ing to  the  lines  of  the  building,  while  the  patterns  of 
beds  and  mazes  were  planned  to  harmonize  with  the 
details  and  tracery  of  the  architecture.  The  garden,  in 
short,  laid  out  in  connection  with  the  house  was  no  mere 
adjunct,  but  part  of  a  whole  and  included  in  the  original 
design.  "  The  form  that  men  like  in  general  is  a  square," 
says  William  Lawson  in  The  New  Orchard  (16 18), 
"  because  it  doth  best  agree  with  a  man's  dwelling." 
Wrought-iron  gates  of  elaborated  pattern  were  let  into 
the  walls,  for  the  idea  still  prevailed  that  a  garden 
should  be  a  '  garth '  or  enclosure,  and  nearly  two  cen- 
turies were  to  elapse  before  the  unenclosed  garden  was 
developed  on  aesthetic  principles.  As  the  garden 
remained  walled,  the  mount  was  extended  into  the 
terrace,  which  also  served  to  discover  distant  prospects. 
The  mounts  themselves,  however,  remained  an  important 
feature,  for  it  was  an  age  of  pageants,  and  such  points  of 
view  were  a  practical  necessity.  A  great  attraction  in 
the    Elizabethan    garden    was    the    '  covert    walk '    or 


i6o  HISTORY  OF  AQUATINT 

'pleached  alley'  (so  called  from  the  word  plesser,  to 
plait),  formed  by  two  rows  of  trees  such  as  willows, 
limes,  wych  elms  and  hornbeams,  whose  interwoven 
boughs  cast  a  pleasant  shade.  Sometimes  these  pleached 
alleys  were  treated  as  galleries  and  placed  on  sculptured 
columns,  thus  giving  a  more  intimate  architectural  con- 
nection with  the  buildings,  a  treatment  much  approved 
by  Bacon.  The  complicated  knotted  beds  of  an  earlier 
time  gave  place  to  open  ones  of  a  simpler  kind, 
and  flowers  were  planted  in  borders  by  the  walks  and 
hedges.  Along  the  terraces  or  at  the  side  of  the  walks 
were  lead  or  stone  vases  or  great  Turkey  jars  filled 
with  flowers,  while  statues  and  fountains  occupied  the 
open  spaces. 

One  may  study  the  Tudor  and  Elizabethan  gardens 
in  contemporary  plans  and  views.  The  earliest  illustra- 
tions which  are  naturally  to  be  found  in  manuscripts,  are 
not  very  enlightening,  in  consequence  of  their  complete 
absence  of  perspective,  while  during  the  first  half  of  the 
eighteenth  century  the  habitual  representation  of  garden 
and  landscape  was  of  the  bird's-eye  type  so  familiar  in 
Kip's  Britan7tia  Illustrata.  But  the  best  field  for 
the  lover  of  gardens  lies  in  the  county  histories  of 
the  last  half  of  the  seventeenth  century,  notably  the 
views  of  our  Universities  in  Oxonia  Illustrata  (1675), 
and  Cantabrigia  Illustrata  (1688),  drawn  by  David 
Loggan,  a  native  of  Dantzic.  The  gardens  of  colleges 
being  less  subject  to  changes  than  those  of  private 
individuals,  these  views  are  probably  as  faithful  records 
of  an  earlier  time  as  they  are  of  the  period  to  which  they 
belong  —  a  period,    too,    when    topographical   drawing, 


HUMPHREY  REPTON  i6i 

being  directly  in  the  service  of  architecture,  was  at  its 
best.  Michael  Burgher,  a  Dutchman  settled  at  Oxford, 
engraved  many  of  the  headings  for  the  Oxford 
Almanack,  as  well  as  other  plates ;  his  views,  like 
those  of  Loggan,  show  more  feeling  for  composition  and 
the  ordinary  rules  of  perspective  than  Kip's  cruder 
work.  Nevertheless,  for  the  representation  of  houses 
and  gardens  during  the  reign  of  Queen  Anne  and  the 
two  first  Georges,  Britannia  Illustrata  must  always  be 
a  mine  of  interest.  Its  four  large  volumes,  published 
between  1709  and  1763,  are  alone  sufficient  to  prove 
that  depicting  the  '  seats  of  the  nobility  and  gentry ' 
was  one  of  the  staple  artistic  industries  of  the  time,  and 
the  fashion  was  destined  to  continue  for  more  than  a 
century. 

The  particular  characteristics  of  these  quaint  and 
artificial  productions,  which  have  a  charm  of  their 
own,  are  well  set  forth  by  Roget.^  "  The  views  are 
framed  on  a  curious  union  of  distinct  systems  of  per- 
spective, having,  it  may  be,  three  different  horizons 
to  one  picture.  Of  the  main  object,  usually  a  grand 
Elizabethan  or  Jacobean  mansion  standing  amidst 
avenues  and  gardens  laid  out  in  the  quaint  geometrical 
style  of  the  time,  we  have  perhaps  a  strictly  bird's-eye 
view ;  but  the  winged  observer  drops  to  a  lower  level  to 
survey  the  distant  landscape  ;  while  living  objects  in  the 
foreground  are  seen  as  by  a  spectator  on  foot.  .  .  .  Not- 
withstanding the  inconsistency  of  their  arrangement, 
these  representations  convey  a  curious  sense  of  reality. 
They  are  carefully,  in  many  cases  vigorously,  engraved  ; 

^  History  of  the  Old  Water  Colour  Society,  J.  L.  Roget,  1891.    Vol.  i.  p.  11. 


i62  HISTORY  OF  AQUATINT 

and  the  whole  scene  being  represented  in  full  sunshine, 
the  several  objects  are  made  to  stand  out  solidly  from 
the  earth  ;  and  a  certain  unity  is  effected  which  prevents 
an  uneducated  eye  from  perceiving  the  incongruity  of 
the  drawing." 

Still  more  satisfactory,  perhaps,  are  the  word-pictures 
of  gardens  that  are  to  be  found  throughout  the  whole 
of  English  literature.  The  best  descriptions  of  earlier 
pleasaunces  are  those  in  Chaucer's  Troilus  and  Cresside, 
in  The  King's  Qukair,  and  in  Lydgate,  while  a 
hundred  years  later,  Leland,  in  his  Itinerary,  sets 
forth  the  results  of  many  years  of  travelling  through 
England  and  Wales  as  antiquary  to  Henry  VIII.  But 
the  flower  of  garden  literature  is  associated  with 
Elizabethan  times.  We  have  passages  in  Spenser  and 
Sir  Philip  Sidney,  which  though  treating  of  the  ideal 
garden,  are  no  doubt  the  record  of  the  places  actually 
seen,  and  best  of  all  Bacon's  Essay,  the  visionary  repre- 
sentation in  which  all  styles  combine  in  his  imagination 
to  form  the  perfect  type.  Some  of  the  most  detailed 
accounts  of  English  gardens  are  those  of  foreign 
travellers  who  visited  England,  notably  Paul  Hentzner, 
who,  when  he  came  over  in  1598,  described  Theobalds, 
then  belonging  to  Lord  Burleigh,  Nonesuch,  one  of 
the  royal  residences  of  Henry  VIII.,  Hatfield,  Holland 
House,  Kensington,  and  the  Earl  of  Pembroke's  garden 
at  Wilton. 

In  a  style  as  charming,  if  not  so  stately  as  that  of  Bacon, 
William  Lawson  wrote  in  the  New  Orchard  and  Garden 
already  referred  to,  a  book  that  won  for  him  the  title  of  the 
Isaac  Walton  of  Gardeners ; — "When  you  behold  in  divers 


HUMPHREY  REPTON  163 

corners  of  your  Orchard  Mounts  of  stone,  or  wood  curiously 
wrought  within  and  without,  or  of  earth  covered  with  fruit 
trees,  Kentish  Cherry,  Damsons,  Plumes,  etc.  With 
stones  of  precious  workmanship.  And  in  some  corner 
(or  more)  a  true  Dyall  or  Clock,  and  some  anticke  worke, 
and  especially  silver  sounding  Musique,  mixt  Instruments 
&  voyces,  gracing  all  the  rest :  How  will  you  be  rapt 
with  delight.'*"  In  1638  we  find  Milton  sanctioning  the 
old  formal  garden  by  sending  '  Retired  Leisure '  to 
'  take  his  pleasure '  in  '  trim  gardens,'  but  in  Paradise 
Lost  he  had  recanted  his  error  by  a  description  of  the 
finest  natural  garden  ever  conceived,  that  tended  by 
Adam  and  Eve  in  Paradise.  Cowley's  ideal  garden  was 
perhaps  more  cultivated,  but  equally  '  natural,'  while 
we  have  in  Sir  Thomas  Browne  an  advocate  of  the 
formal  garden,  who,  in  the  Garden  of  Cyrus,  writes  of 
the  "  Quintuple  section  of  a  cone,  of  handsome  practise 
in  Ornamental  Garden  plots,"  and  of  the  "  delights,  com- 
modities, mysteries  "  belonging  to  the  Quincunx  in  the 
formation  of  a  garden  as  elsewhere.  Later  on  we  have 
John  Evelyn's  Diary  and  Sir  William  Temple's  essay  on 
the  Gardens  of  Epicurus,  in  which  he  describes  Moor 
Park  in  Hertfordshire  as  "  the  perfectest  Figure  of  a 
Garden  I  ever  saw  either  at  Home  or  Abroad."  And  so, 
passing  by  many  another  name  among  the  masters  of 
English  prose,  we  come  to  the  group  of  writers  who 
engaged  in  the  great  controversy  concerning  the 
irregular  or  natural  garden,  of  whom  Repton  was  almost 
the  last. 

During  the  latter  half  of  the  seventeenth  century 
the   planning   of   English   pleasure-grounds   received  a 


i64  HISTORY  OF  AQUATINT 

most  powerful  impulse  from  .the  splendid  style  of  Le 
N6tre  (1620- 1700),  the  high  priest  of  gardening  in 
the  architectural  style.  As  head  gardener  to  Louis 
XIV.  and  Comptroller  -  General  of  Buildings  and 
Gardens,  he  created  Versailles,  though  not  as  we  know 
it,  for  under  the  hands  of  subsequent  '  improvers  '  it 
has  lost  almost  every  trace  of  the  magnificent  whole 
it  was  in  the  days  of  the  Grand  Monarque.  St  Cloud 
was  also  his  invention  ;  the  Roman  villas  Pamfili  and 
Ludovisi  were  built  from  his  plans ;  and  though  it  is 
not  quite  clear  that  he  accepted  Charles  II.'s  invitation 
to  England,  it  is  generally  believed  that  St  James's 
Park  and  various  alterations  at  Whitehall  and  Hampton 
Court  were  made  under  his  directions.  His  contem- 
porary was  Jean  de  la  Quintinye  (1626- 1700),  whose 
reputation  in  the  kitchen-garden  equalled  that  of  Le 
Notre  in  the  pleasure- garden.  He  originated  the 
training  of  fruit  trees  on  espaliers,  and  his  Compleat 
Gardner^  with  its  wonderful  illustrations  of  grafting 
and  pruning,  was  translated  by  John  Evelyn  (1620- 1706), 
whose  Sylva  did  so  much  for  the  improvement  of 
arboriculture  in  England.  It  is,  then,  not  surprising 
that  the  influence  of  France  was  predominant  during  a 
considerable  period.  Rapin,  who  laid  down  the  law 
on  so  many  subjects,  produced  a  Latin  poem  on  Gardens, 
which  was  translated  into  English  verse  by  James 
Gardiner  in  1706.  The  Earl  of  Essex  sent  his  gardener 
Rose  to  study  at  Versailles ;  on  his  return  he  was  made 
royal  gardener  to  Charles  II.  Loudon,  also  gardener 
to  the  king,  was  a  pupil  of  Rose,  but  with  him  is 
associated  the  beginning  of  the  reaction  to  a  less  formal 


HUMPHREY  REPTON  165 

style.  Nor  can  we  overestimate  the  influence  of  Evelyn, 
whose  Journal  of  his  Grand  Tour,  as  well  as  his 
Kalendarum  Horiense,  or  Gardeners  Almanac,  are 
among  the  most  important  contributions  to  garden 
literature.  He  helped  to  lay  out  many  gardens,  and 
throughout  a  long  life,  which  included  interests  so  far 
apart  as  the  practice  of  engraving,  on  which  he  wrote 
a  valuable  treatise,  a  knowledge  of  numismatics,  and 
the  discovery  and  patronage  of  Grinling  Gibbons,  he 
was  a  recognized  authority  on  architecture  and  landscape 
gardening. 

It  was  natural  that  in  the  reign  of  William  and  Mary 
the  influence  of  Holland  should,  to  a  certain  extent, 
supersede  that  of  France ;  the  styles  were,  however, 
largely  the  same,  save  that  the  vast  ideas  of  Le  Notre, 
which  required  exceptional  space  for  their  fulfilment, 
were  superseded  by  something  like  the  same  ideas 
seen  through  a  diminishing-glass.  The  minute  scale  of 
Dutch  gardens,  coupled  with  their  trivial  detail  and 
insignificant  ornament,  were  luckily  carried  out  in  this 
country  with  considerable  modifications.  Hampton 
Court,  amongst  other  places,  received  some  alterations 
in  accordance  with  the  new  influence,  and  Kip's  view 
of  it  in  Britannia  Illustrata  shows  the  gardens  at  their 
best  during  Queen  Anne's  reign.  In  the  introduction 
by  William  of  Orange  of  wrought-iron  gates  or  clair- 
voy^es  into  the  stone  walls  we  see  a  further  develop- 
ment of  the  idea  of  mounts  as  places  from  which  to 
look  upon  the  landscape  without,  and  a  foreshadowing 
of  the  later  feeling  for  the  clearance  of  all  boundaries. 
The  gardens   of  this  time  had  innumerable  fountains 


i66  HISTORY  OF  AQUATINT 

and  waterworks  of  every  description.  The  idea,  taken 
from  abroad,  had  struck  root  in  Tudor  days,  but  Dutch 
gardens  were  full  of  them,  and  now,  thanks  doubtless 
to  Le  Notre,  they  were  in  greater  fashion  than  ever. 
There  were  bowling  alleys,  too,  hedges  of  evergreen, 
and  shorn  shrubs  in  boxes.  The  Dutch  style,  ex- 
aggerating as  it  did  the  artificial  disposition  of  garden 
material,  caused  a  riot  in  topiary  work  which  soon 
became  typical  of  the  decadence  of  the  formal  school, 
and  rapidly  brought  about  its  supersession.  *  Parterres ' 
now  took  the  place  of  *  knots ' :  these  consisted  of  fine 
turf,  says  Sir  Thomas  Hanney,  "  cut  out  curiously  into 
embroidery  of  flowers,^  and  shapes  of  arabesques, 
animals  or  birds  or  feuillages,  and  the  small  alleys  or 
intervals  filled  with  several  coloured  sands  and  dust  with 
much  art,  with  but  few  flowers  in  such  knots,  and  those 
only  such  as  grow  very  low,  lest  they  spoil  the  beauty 
of  such  embroidery."  In  the  Retired  Gardener,  trans- 
lated from  the  French  of  Louis  Liger  by  London  and 
Wise,  eleven  sorts  of  parterres  are  described  with  illus- 
trations. The  Diary  of  Celia  Fiennes,  entitled  Through 
England  on  a  Side-Saddle  in  the  Time  of  William  and 
Mary,  gives  an  interesting  account  of  the  gardens 
throughout  the  country.  To  this  reign  and  that  of 
Queen  Anne  belong  the  celebrated  gardeners,  London 
and  Wise,  already  mentioned,  and  the  first  of  a  succes- 
sion of  designers  in  the  landscape  style,  of  whom  Repton 
was  about  the  last.  George  London  (d.  171 7)  was  the 
chief  founder  of  the  Brompton  Nurseries,  and,  at  some 

'  Cf.  "And  gladiators  fight,  or  die,  in  flowers." 

Pope,  Epistle  to  the  Earl  of  Burlington. 


HUMPHREY  REPTON  167 

period,  superintendent  of  the  royal  gardens.  A  pupil 
of  Rose,  he  made  more  than  one  expedition  to 
France,  and  in  conjunction  with  Henry  Wise,  whom 
he  took  into  partnership,  constructed  gardens  in  many 
parts  of  England.  Later  on,  when  Wise  was  appointed 
to  the  care  of  the  Royal  gardens  by  Queen  Anne, 
London  made  riding  circuits  of  the  principal  gardens 
of  England.  They  were  popular  writers,  too,  at  a 
time  when  gardening  literature  was  increasing,  and 
translated  from  the  French  the  Compleat  Gardner  of 
Jean  de  la  Quintinye,  the  Retired  Gardener  of  Louis 
Liger,  and  the  Solitary  Gardener  of  Le  Gentil.  They 
were  succeeded  by  Stephen  Switzer,  whom  they  had 
trained,  and  whose  Ichnographia  Rustica  (17 18)  shows 
plainly  that  the  end  of  Formal  Gardening  was  at  hand. 
Before  passing  to  the  landscape  style  that  replaced 
the  architectural,  attention  must  be  drawn  to  the 
influence  brought  to  bear  upon  the  change  of  taste  by 
Pope  and  Addison  and  other  contemporary  writers. 
Loudon  says  that  the  principles  of  English  gardening 
were  undoubtedly  first  laid  down  by  English  writers,  and 
with  Pope  and  Addison  we  certainly  get  the  earliest 
expression  of  the  revolution  that  was  to  be  so  trans- 
forming to  the  gardens  of  England.  Pope  killed  the 
fashion  of  shorn  shrubs  in  his  satirical  paper,  No.  173 
of  the  Guardian^  so  often  quoted,  and  set  forth  his 
views  with  clearness  in  his  epistle  to  Lord  Burlington 
on  the  aesthetic  of  gardens.  Addison  voiced  the 
same  feeling  in  less  stilted  language  in  his  paper  on 
the  Pleasure  of  a  Garden  in  No.  477  of  the  Spectator. 
Both  indeed  made  gardens  in  which  they  tried  to  carry 


i68  HISTORY  OF  AQUATINT 

out  their  theories  in  practice  ;  but  neither  seems  to  have 
escaped  the  artificial,  and  Pope's  attempt  at  Twickenham 
would  appear  to  have  been  as  grotesque  and  fantastic 
a  travesty  of  nature  as  anything  that  can  be  imagined. 
Other  writers  there  were,  such  as  Dyer,  Thomson,  and 
Shenstone,  who  gave  matter  for  reflection  to  the  new 
school  of  gardeners,  and  opinion  was  henceforth  divided 
as  to  whether  inspiration  should  be  sought  in  the  poets 
or  in  the  painters  whose  *  compositions '  were  also 
proposed  to  them  as  models. 

The  fact  is  that  a  too  self-conscious  study  of  beauty 
and  its  influence  on  the  mind  had  produced  a  set  of  writers 
who  revelled  in  all  sorts  of  theories  as  to  the  effect  on 
sensibility  of  both  nature  and  art,  and  who  were  not 
satisfied  until  they  had  reduced  the  results  of  their 
reflections  to  a  set  of  formulae  in  which  could  be  found 
recipes  for  the  production  of  a  varied  range  of  emotions. 
The  'discovery'  of  nature  and  its  rendering  in  the 
new-found  art  of  water-colour  painting  helped  to  bring 
about  this  literature  of  aesthetics,  and  no  one  could  look 
at  any  scene  of  mountain  or  plain,  ruin  or  torrent, 
without  stating  and  analysing  the  effect  it  had  upon 
himself.  To  take  up  any  of  the  books  devoted  to  this 
subject  during  the  last  part  of  the  eighteenth  century 
and  beginning  of  the  nineteenth  is  to  move  in  a  false 
atmosphere  of  feeling  with  no  footing  on  the  solid  earth. 
W.  Shenstone's  Unconnected  Thoughts  on  Gardening, 
W.  Gilpin's  Essays  on  Picturesque  Beauty  and  Picturesque 
Travel,  Uvedale  Price's  Essays  on  the  Picturesque,  to 
name  but  a  few  of  the  scores  of  such  treatises,  are 
sufficient  evidence  of  the  spirit  that  went  to  the  study 


HUMPHREY  REPTON  169 

of  nature.  Thus  the  gardeners  of  the  time,  who  used 
art  to  produce  a  system  of  nature,  fell  into  a  pit  dug 
by  themselves,  and  the  so-called  natural  school  that  they 
introduced  became  more  unnatural  than  the  formal  school 
that  they  displaced. 

This  return  to  nature  then  was  the  great  revolution 
in  gardening  of  the  latter  half  of  the  eighteenth  century, 
but  there  had  been  some  few  earlier  indications  of  the 
impending  change.  Even  in  Elizabethan  times  men's 
minds  had  turned  in  imagination  from  the  studied 
formality  of  the  day,  and  when  the  new  conception 
had  thoroughly  taken  hold  of  public  taste  much  dispute 
arose  as  to  the  true  inventor  of  the  modern  garden. 
Then  it  was  recalled  that  Milton  had  foreshadowed  it 
in  Paradise  Lost,  that  Bacon  had  spoken  against  the 
*  Images  cut  out  in  Garden  stuff,'  and  that  Wotton  had 
said  in  his  Elements  of  Architecture,  "  I  must  note  a 
certain  contrariety  between  building  2SiA  gardening ;  for 
as  Fabricks  should  be  regular,  so  Gardens  should  be 
irregular,  or  at  least  cast  into  a  very  wild  Regularity!' 
Foreign  authors  wrote  that  we  had  borrowed  it  from  the 
Chinese,  but  Englishmen  preferred,  for  the  most  part,  to 
agree  with  the  poet  Gray,  who  writes  to  W.  T.  How  ^ ; — 
"  He  (Count  Algarotti)  is  highly  civil  to  our  nation, 
but  there  is  one  little  point  in  which  he  does  not  do  us 
justice.  I  am  the  more  solicitous  about  it  because  it 
relates  to  the  only  taste  we  can  call  our  own,  the  only 
proof  of  our  original  talent  in  the  matter  of  pleasure ;  I 
mean  our  skill  in  gardening,  and  laying  out  gardens. 
That    the    Chinese    have    this    beautiful    art   in   high 

*  Letter  from  Thomas  Gray  to  William  Taylor  How.     September  lo,  1763. 


I70  HISTORY  OF  AQUATINT 

perfection  seems  very  probable  from  the  "Jesuits' 
Letters,"  and  more  from  Chambers'  little  discourse, 
published  some  years  ago ;  but  it  is  very  certain  we 
copied  nothing  from  them,  nor  had  anything  but  nature 
for  our  model.  It  is  not  forty  years  since  the  art  was 
born  among  us,  and  it  is  sure  that  there  was  nothing 
in  Europe  like  it,  and  as  sure  we  then  had  no  in- 
formation on  this  head  from  China  at  all."  There  is, 
however,  no  doubt  that  an  important  stimulus  had  been 
given  to  the  rural  garden  by  the  book  on  the  Emperor 
of  China's  gardens  at  Pekin  mentioned  by  Gray,  a 
description  in  the  form  of  letters  by  Pere  Attiret,  one  of 
the  French  Jesuit  missionaries,  which  had  been  translated 
by  Joseph  Spence  in  1 752.  Sir  William  Temple  even  had 
written  on  Chinese  gardens — a  fact  which  lessens  the 
value  of  Gray's  boast  that  modern  English  gardening 
"had  no  information"  as  to  Chinese  methods  when  it 
first  arose — and  Sir  William  Chambers,  architect  to 
George  II.,  who  had  lived  in  China  in  his  youth, 
supported  the  enthusiasm  created  by  the  Letters,  and 
when  made  Superintendent  of  the  Royal  Gardens  at 
Kew,  laid  out  part  of  them  in  the  Chinese  style.  He 
also  wrote  among  other  things,  a  dissertation  on  Oriental 
Gardening,  which  brought  upon  him  a  shower  of  ridicule. 
The  characteristic  of  the  Chinese  style  may  be  briefly 
stated  as  the  refusal  to  allow  a  garden  to  be  limited  by 
the  natural  disposition  of  the  ground,  whatever  that 
might  be.  Mountains  were  constructed  where  re- 
quired, rivers  and  rivulets  constrained  to  form  lakes, 
and  paths  tortured  and  twisted  to  give  the  serpentine 
line   that   nature    was    supposed    to    prefer.      William 


HUMPHREY  REPTON  171 

Mason,  poet  and  biographer,  in  his  poem  of  the 
English  Garden,  1772,  also  gave  currency  to  this 
fashion,  which  was  destined  to  prevail  in  England  for  a 
considerable  time.  George  Mason,  in  his  Essay  on 
Design  in  Gardenings  1768,  one  of  the  earliest  prose 
works  on  the  natural  style,  ascribes  the  modern  garden 
to  English  experiments  in  the  Chinese  manner,  but 
recognizes  that  Kent  was  by  most  people  considered  its 
inventor.  Kent  had  been  preceded  by  Bridgman, 
himself  the  successor  of  Switzer  in  popular  favour. 
Bridgman  (d.  1738)  was  the  only  prominent  gardener 
of  the  period  who  was  not  also  an  author ;  his  methods 
therefore  can  only  be  gleaned  from  others.  It  seems 
certain,  however,  that  he  banished  vegetable  sculpture, 
and  that,  when  in  charge  of  the  Royal  Gardens  as 
successor  to  London  and  Wise,  he  laid  out  part  of 
Richmond  Park  in  forest  scenery  and  cultivated  fields. 
He  was  employed  by  Lord  Cobham  at  Stowe,  and  his 
plans  for  remodelling  the  grounds  in  the  modern  style 
are  still  in  existence.  He  also  laid  out  as  Kensington 
Gardens  the  three  hundred  acres  that  Queen  Caroline 
took  from  Hyde  Park. 

Kent  and  Bridgman  were  the  first  designers  who 
practised  in  the  modern  style,  but  Kent  (1684- 1748)  far 
surpassed  Bridgman  in  innovations.  He  did  away  with 
walls  as  boundaries,  and  invented  the  sunk  fence,  thus 
uniting  the  park  with  the  garden.  "He  leaped  the 
fence,"  says  Horace  Walpole  in  his  Essay  on  Modern 
Gardening,  "and  saw  that  all  Nature  was  a  garden." 
Beginning  life  as  a  coach  painter,  he  had  the  good 
fortune  to  obtain  the  Earl  of  Burlington  as  his  patron, 


172  HISTORY  OF  AQUATINT 

— an  association  ridiculed  by  Hogarth  in  the  print  of 
Burlington  Gate,  or  the  Taste  of  the  Town  (1731), — 
and  with  him  he  lived  and  died.  Kent  seems  to  have 
practised  all  the  arts  and  was  sculptor  and  architect, 
political,  historical  and  religious  painter,  and  designer 
alike  of  furniture,  dress  and  gardens.  He  sculptured 
Shakespeare's  monument  in  Westminster  Abbey,  and 
designed  an  altar-piece  in  the  church  of  St  Clement 
Danes,  which  brought  on  him  for  a  second  time  the 
merciless  ridicule  of  Hogarth  and  created  such  a  scandal 
that  it  had  eventually  to  be  removed  by  an  injunction 
from  the  Bishop  of  London  "to  preserve  peace  and  unity." 
Gay,  however,  admired  his  paintings  beyond  measure,  see- 
ing in  them  "Titian's  strong  fire  and  Guido's  softer  grace," 
and  bidding  "Raphael  live  again  in  (Kent's)  design."^ 
His  principal  works  as  an  architect  were  the  Horse 
Guards,  the  Treasury  Buildings  and  Devonshire  House. 
At  Stowe,  Lord  Cobham's  place  in  Buckinghamshire, 
which  employed  in  turn  every  one  of  the  modern  school 
of  landscape  gardeners,  Kent  first  painted  the  hall  and 
then  took  over  the  garden,  and  it  is  as  a  gardener  that 
he  is  chiefly  remembered,  though  his  reputation  will 
vary  according  as  he  is  associated  with  the  reaction 
from  the  symmetry  and  precision  of  the  formal  garden 
to  the  landscape  style,  or  with  the  wholesale  destruction 
of  old  gardens  which  followed  upon  this  return  to  nature. 
As  one  turns  over  book  after  book  of  the  views  of 
'  seats '  in  the  illustrations  of  which  aquatint  engrav- 
ing was  so  largely  employed,  one  gets  a  very  clear 
impression  of  the  characteristic  features  of  the  house 
»  Epistle  to  the  Rt.  Hon.  Paul  Methuen. 


HUMPHREY  REPTON  173 

and  grounds  of  Kent's  time,  and  of  the  style  imposed 
by  him  on  England  for  many  years  to  come.  The 
house  below  the  level  of  the  ground,  so  that  its  base 
is  hardly  seen,  the  clumps  of  trees  that  broke  the  spacing 
of  lawn  or  park,  the  avoidance  of  the  straight  line  in  path 
or  stream,  all  produced  a  monotony  and  formalism  far  in 
excess  of  the  style  supplanted  by  the  disciples  of  'nature.' 
The  supreme  absurdity  in  landscape  gardening  of  the 
pictorial  order  was  committed  by  the  Hon.  Charles 
Hamilton,  owner  of  Pain's  Hill,  Cobham.  Having 
obtained  a  fitting  supply  of  ruins,  temples  and  the  like 
d  la  Poussin,  he  hired  a  hermit  at  £']QO  a  year  to  live  in 
a  duly  constructed  hermitage.  The  experiment,  owing 
to  the  hardships  entailed  on  the  hermit,  did  not  prove 
a  success. 

"Is  there  anything  more  shocking  than  a  stiff  regular 
garden  ? "  says  Batty  Langley  in  the  New  Principles  of 
Gardening,  in  which  he  lays  down  in  twenty-eight  rules 
his  dictates  for  the  modern  gardener.  All  the  land- 
scape designers  of  the  last  half  of  the  eighteenth  century 
held  this  view,  and,  according  to  their  lights,  they 
obliterated  the  work  of  former  generations.  Switzer 
had  said :  "Is  not  a  level  easy  walk  of  gravel  or  sand, 
shaded  over  with  trees  and  running  through  a  cornfield 
or  Pasture  ground  as  pleasing  as  the  largest  walk  in 
the  most  magnificent  garden  one  can  think  of?"  In 
Kent's  time,  as  part  of  the  general  reaction  from  artificial 
French  taste,  the  garden  had  ceased  to  be  an  enclosure 
and  was  being  gradually  merged  into  the  park,  which 
crept  up  to  the  house,  thus  banishing  the  flower-garden. 
The  mannerisms  of  Kent  were  continued  by  Lancelot 


174  HISTORY  OF  AQUATINT 

Brown,  '  Capability  Brown '  as  he  was  nicknamed,  from 
his  always  speaking  of  the  *  capabilities  '  of  the  ground 
he  had  to  report  upon.  He  was  kitchen  gardener  at 
Stowe  till  1750,  and  then,  being  recommended  by  Lord 
Cobham  to  the  Duke  of  Grafton,  designed  a  lake 
at  Wakefield  Lodge  which  brought  him  into  great 
notoriety ;  he  was  made  Royal  gardener  at  Hampton 
Court,  and  planted  the  celebrated  vine  there  in  1759. 
Brown  was  the  gardening  idol  of  the  day,  says 
Loudon,  and  the  places  he  altered  are  beyond  all 
reckoning. 

Gray  admired  his  doings  at  Chatsworth,  of  which  he 
writes  to  Wharton  (Dec.  4,  1762) : — "  The  front  opens  to 
the  Derwent  winding  thro'  the  valley,  which,  by  the  art  of 
Mr  Brown  is  now  always  visible  and  full  to  its  brim,  for 
heretofore  it  could  not  well  be  seen  (but  in  rainy  seasons) 
from  the  windows.  A  handsome  bridge  is  lately  thrown 
over  it,  and  the  stables  taken  away,  which  stood  full  in 
view  between  the  house  and  the  river.  The  prospect 
opens  here  to  a  wider  tract  of  country  terminated  by 
more  distant  hills :  this  scene  is  yet  in  its  infancy,  the 
objects  are  thinly  scattered,  and  the  clumps  and  planta- 
tions lately  made,  but  it  promises  well  in  time."  Socially 
also  Brown  won  distinction.  A  famous  anecdote  relates 
that  as  he  was  one  day  assisting  Lord  Chatham  into  his 
carriage,  the  statesman  thanked  him  with  "And  now,  sir, 
go  and  adorn  your  country";  "Go  you,  my  lord,  and 
save  it,"  was  the  gardener's  reply.  If  Kent  and  Brown 
had  only  constructed  new  gardens,  their  monotonous 
belt  plantations  and  equally  monotonous  clumps  of  trees 
and  artificial  waters  might  more  easily  be  tolerated  as 


HUMPHREY  REPTON  175 

landmarks  of  a  fluctuating  taste.  But  when  one  thinks 
of  the  splendid  and  stately  gardens  ruthlessly  swept 
away  in  order  that  they  might  be  converted  into  parks, 
it  is  difficult  to  view  with  equanimity  a  style  more  formal 
even  than  the  one  it  supplanted,  and  characterized  by  a 
bald  ugliness  never  found  in  the  more  precise  and 
symmetrical  garden  of  earlier  days.  A  glance  through 
some  of  the  old  county  histories,  such  as  Plot's 
Staffordshire  and  Oxfordshire,  Dugdale's  Warwickshire, 
and  Atkyn's  Gloucestershire,  will  give  sufficient  proof  of 
the  destruction  that  took  place  at  this  time.  Sir  William 
Chambers,  indeed,  in  the  preface  to  his  Dissertation  on 
Oriental  Gardening  (1772),  declared  that  if  the  mania 
for  destroying  avenues  were  not  checked,  in  a  few  years 
longer  there  would  not  be  found  three  trees  in  a  line  from 
the  Land's  End  to  the  Tweed.  Luckily  it  was  not  many 
years  before  this  rapid  change  of  the  whole  face  of  the 
country  was  put  a  stop  to  by  a  counter-revolution  that 
saved  for  us  some  few  of  the  stately  houses  of  England. 
As  before,  literature  reflected  the  reaction,  this  time 
in  the  pages  of  the  "  Picturesque  Writers,"  the  name 
applied  to  the  trio.  Price,  Knight,  and  Gilpin.  Joseph 
Cradock  in  his  Village  Memoirs  (1775)  satirised  the 
new  fashion,  the  professional  gardener  appearing  as  the 
undertaker,  Mr  Layout  ;  while  Thomas  Love  Peacock 
(1785- 1 866),  in  Headlong  Hall  and  Crotchet  Castle,  has 
left  a  more  permanent  record  of  these  travesties  of 
nature.  Payne  Knight,  a  violent  opponent  of  Brown 
and  his  school  both  in  prose  and  verse,  has  left  the 
following  testimony  to  the  result  of  their  misapplied 
activities : — 


176  HISTORY  OF  AQUATINT 

"  Oft  when  I've  seen  some  lonely  mansion  stand, 
Fresh  from  th'  improver's  desolating  hand, 
'Midst  shaven  lawns,  that  far  around  it  creep 
In  one  eternal  undulating  sweep  ; 
And  scatter'd  clumps,  that  nod  at  one  another. 
Each  stiffly  waving  to  its  formal  brother  ; 
Tir'd  with  th'  extensive  scene,  so  dull  and  bare, 
To  Heav'n  devoutly  I've  address'd  my  pray'r, — 
Again  the  moss-green  terraces  to  raise, 
And  spread  the  labyrinth's  perplexing  maze  ; 
Replace  in  even  lines  the  ductile  yew. 
And  plant  again  the  ancient  avenue. 
Some  features  then  at  least,  we  should  obtain, 
To  mark  this  flat,  insipid,  waving  plain  ; 
Some  vary'd  tints  and  forms  would  intervene, 
To  break  this  uniform,  eternal  green." 

Sir  Uvedale  Price  is  remembered  by  his  champion- 
ship of  the  older  style  and  his  opposition  to  Brown  and 
the  flood  of  unintelligent  *  improvers '  let  loose  on  the 
formal  gardens.  He  suggested  that  these  should  be 
modified,  not  destroyed,  and  thought  that  the  pictures  of 
Claude  would  be  a  safe  guide  from  which  to  work.  His 
Essays  on  the  Picturesque^  and  on  the  use  of  studying 
pictures  with  a  view  to  the  Improvement  of  Real  Land- 
scape^ together  with  The  Landscape^  a  didactic  poem  by 
his  coadjutor,  Richard  Payne  Knight,  naturally  chal- 
lenged much  criticism.  But  both  works  were  sound  in 
their  intention  and  beneficial  in  their  result.  Price, 
much  misrepresented  by  his  opponents,  became  the 
object  of  scathing  satire,  as  having  advocated  '  the 
picturesque '  as  the  only  guide  to  be  followed  in 
regulating    the    useful    as    well    as    the    ornamental,' 

*  The  novel  reader  may  remember  the  sentimental  Marianne  in  Sense 
and  Sensibility^  and  her  laments  over  the  vulgarisation  of  the  picturesque. 
"  Admiration  of  landscape  scenery  has  become  a  mere  jargon.  Everybody 
pretends  to  feel  and  tries  to  describe  with  the  taste  and  elegance  of  him  who 
first  defined  what  picturesque  beauty  was.      I  detest  jargon  of  every  kind  ; 


HUMPHREY  REPTON  177 

an  opinion  which  he  shared  with  Horace  Walpole, 
whose  standard,  however,  is  Albano.  Other  critics, 
with  more  justice,  opposed  his  opinion  that  the  study 
of  pictures  could  prove  infallible  in  the  formation  of 
the  landscape  garden.  Dugald  Stewart  again,  in  his 
Philosophical  Disquisitions  on  the  Beautiful  (18 10),  one 
of  the  earlier  examples  of  the  philosophy  of  aesthetic  in 
English  literature,  remarks  that  the  application  of  the 
knowledge  acquired  from  a  study  of  paintings  to  the 
improvement  of  natural  landscape  would  infallibly  cover 
the  face  of  the  country  with  a  new  and  systematical 
species  of  affectation  not  less  remote  than  that  of  Brown 
from  the  style  of  gardening  he  (Price)  wishes  to  recom- 
mend. 

Repton's  position  in  the  dispute  altered  as  time  went 
on,  for  while  he  certainly  started  as  a  discreet  follower 
of  Brown,  his  opinions  were  modified  by  Price's  Essays 
and  the  ventilation  of  the  subject  in  the  writings  of 
others  who  took  part  in  this  war  of  pens.  The  first 
answer  to  Price  was  a  letter  from  Repton,  to  which  he 
replied  in  an  able  pamphlet  which  was  very  widely  read. 
William  Windham,  Repton's  early  patron,  was  perhaps 
the  fairest  of  all  Price's  opponents,  and  his  letter  to 
Repton  is  an  excellent  statement  of  the  position. 

Repton  was  ever  a  courteous  antagonist,  and  his 
attitude  towards  his  critics  seems  to  have  earned  him  the 
nickname  of  '  Amenity '   Repton.     Yet  he  was  not  un- 

and  sometimes  I  have  kept  my  feelings  to  myself,  because  I  could  find  no 
language  to  describe  them  in  but  what  was  worn  and  hackneyed  out  of  all 
sense  and  meaning."  It  would  be  interesting  to  know  if  this  passage 
belongs  to  the  original  version  of  the  book,  written  in  1792,  to  the  re-working 
of  1797-8,  or  to  the  published  recension  of  181 1. 


178  HISTORY  OF  AQUATINT 

compromising  in  the  practice  of  his  profession.  In  his 
Inquiry  into  the  Changes  of  Taste  in  Landscape  Garden- 
ing, he  says  :  "  I  have  occasionally  ventured  to  deliver 
my  opinion  freely  in  theory,  but  in  my  practice  I  have 
often  feared  to  give  offence,  by  opposing  the  taste  of 
others,  since  it  is  equally  dangerous  to  doubt  a  man's 
taste  as  his  understanding ;  especially  as  those  who 
possess  least  of  either  are  generally  the  most  jealous  of 
the  little  they  possess." 

In  this  same  book,  published  in  1806,  Repton  sub- 
jects Brown's  fashion  in  gardening  to  some  criticism, 
though  he  distinguishes  between  the  bad  taste  of  his 
followers  and  the  intention  of  their  master.  There  are 
several  passages,  moreover,  which  show  that  he  was 
anxious  to  minimise  the  difference  between  himself  and 
Price  and  Knight,  and  that  his  own  opinions  were  modi- 
fied by  his  part  in  the  controversy  is  conclusively  proved 
by  a  comparison  of  his  last  work,  Fragments  on  the 
Theory  and  Practice  of  Landscape  Gardening,  published 
ten  years  afterwards,  with  his  earlier  writings.  From  a 
study  of  this  alone  one  would  certainly  range  him  on  the 
side  of  Brown's  opponents,  rather  than  on  that  of 
Brown.  In  this  connection.  Sir  Walter  Scott's  remarks 
on  these  opposing  schools  in  his  Essay  on  Landscape 
Gardening  in  the  Quarterly  Review  for  1828,  are  well 
worth  reading.  He  sums  up  the  characteristics  of  Kent 
and  his  school  in  the  following  manner : — "  For  water- 
works and  architectural  ornaments,  the  professed  pro- 
ductions of  art,  Kent  produced  ha-has  !  sheets  of  artificial 
water,  formal  clumps  and  belts  and  trees,  and  bare 
expanded    flats    or    slopes    of    shaven    grass,    which, 


HUMPHREY  REPTON  179 

indicating  the  recent  use  of  the  levelling  spade  and 
roller,  have  no  more  resemblance  to  that  nature  which 
we  desire  to  see  imitated,  than  the  rouge  of  the 
antiquated  coquette,  bearing  all  the  marks  for  sedulous 
toilette,  bears  to  the  artless  blush  of  a  cottage  girl.  His 
style  is  not  simplicity,  but  affectation  labouring  to  seem 
simple." 

Repton  took  great  pains  that  his  employers  should 
see  what  he  proposed  to  do,  and  when  called  on  to 
improve  a  place  he  prepared  a  plan  and  description 
of  it  as  it  was  and  then  stated  his  plans  for  its  alteration. 
He  was  a  beautiful  draughtsman,  and  used  to  make  two 
sets  of  drawings,  one  to  illustrate  the  existing  effect  and 
the  other  the  suggested  modifications.  His  ingenious 
invention  of  a  system  of  slides  over  his  illustrations 
was  a  stroke  of  genius.  The  slide  consists  of  a 
movable  slip  of  paper  which  covers  the  part  of 
the  view  which  the  landscape  gardener  proposes  to 
alter.  The  saving  in  drawing  is  considerable,  as 
one  complete  picture  with  several  '  slides '  will  serve 
the  purpose  of  an  equal  number  of  finished  drawings. 
They  are  naturally  most  effective  on  a  large  scale,  and  as 
carried  out  by  the  skilled  engravers  who  worked  from 
Repton's  drawing  in  the  large  volumes  of  the  first 
editions  of  his  works,  are  seen  to  full  advantage. 

The  following  extract  from  Mansfield  Park,  chap- 
ter vi.,  shows  what  was  thought  of  Repton  by  his 
contemporaries  : — "  *  I  must  try  to  do  something  with 
it'  [i.e.  Sotherton  Court],  said  Mr  Rushworth,  'but  I 
do  not  know  what.  I  hope  I  shall  have  some  good 
friend  to  help  me.' 


i8o  HISTORY  OF  AQUATINT 

"  *  Your  best  friend  upon  such  an  occasion,'  said  Miss 
Bertram  calmly,  '  would  be  Mr  Repton,  I  imagine.' 

"  '  That  is  what  I  was  thinking  of.  As  he  has  done 
so  well  by  Smith,  I  think  I  had  better  have  him  at  once. 
His  terms  are  five  guineas  a  day.' 

"  '  Well,  and  if  they  were  ten',  cried  Mrs  Norris,  *  I 
am  swr& you  need  not  regard  it.'  .  .  . 

"After  a  short  interruption  Mr  Rushworth  began 
again  :  '  Smith's  place  is  the  admiration  of  all  the  county ; 
and  it  was  a  mere  nothing  before  Repton  took  it  in  hand. 
.  .  .  There  have  been  two  or  three  fine  old  trees  cut 
down,  that  grew  too  near  the  house,  and  it  opens  the 
prospect  amazingly,  which  makes  me  think  that  Repton, 
or  anybody  of  that  sort,  would  certainly  have  the  avenue 
at  Sotherton  down.'" 

Repton  had  one  great  professional  disappointment 
connected  with  his  Designs  for  the  Pavilion  at  Brighton, 
published  in  1808  and  illustrated  with  plates  aquatinted 
by  Stadler  and  arranged  with  his  usual  method  of  slides. 
George  IV.,  when  Prince  of  Wales,  commanded  him  to 
draw  up  plans  for  the  alteration  of  the  Royal  Pavilion, 
at  that  time  an  important  centre  for  social  and  aristo- 
cratic gatherings.  Thomas  Daniell  had  come  back 
from  India  full  of  enthusiasm  for  Hindu  architecture, 
and  laden  with  a  number  of  measured  drawings  of  the 
buildings  and  their  ornamental  details.  Repton  was  so 
impressed  with  them  and  the  opportunity  thus  afforded 
of  introducing  a  completely  novel  style,  rather  than  a 
mere  modification  of  familiar  designs,  that  he  adopted 
the  Indian  type  of  plan  in  his  designs  for  the  Pavilion. 
They  met  with  the   approval  of  the  Prince,  who  told 


HUMPHREY  REPTON  i8i 

Repton  that  he  considered  the  whole  of  the  work  as 
perfect,  and  that  he  would  have  every  part  of  it  carried 
into  immediate  execution  :  "not  a  tittle  shall  be  altered, 
— even  you  yourself  shall  not  attempt  any  improvement." 
Want  of  funds,  it  is  said,  prevented  the  plans  from 
being  carried  out,  but  when  in  1820  there  appeared 
Nash's  Illustrations  of  His  Majesty's  Palace  at  Brighton, 
formerly  the  Pavilion,  it  was  evident  that  Repton's 
ideas  had  been  largely  adopted.  "He  never  himself 
alluded  to  this  subject  without  feelings  of  deep  regret, 
yet  untinged  with  anger,"  says  the  biographical  notice 
in  Loudon's  edition  of  his  works,  "but  towards  the 
close  of  his  professional  life,  when  his  ambition  was 
about  to  be  justified  by  the  patronage  of  the  highest 
personages  in  the  kingdom,  it  was  painful  to  find 
himself  superseded  by  that  very  friend,  who,  in  earlier 
life,  had  participated  in  his  bright  visions  of  future 
fame.  .  .  .  Nature  had  in  truth  bestowed  on 
Humphrey  Repton  one  of  her  rarest  gifts — a  heart 
totally  devoid  of  selfishness." 

There  were  other  writers  of  the  kind  who  testify  to 
the  interest  taken  in  rural  life,  such  as  R,  Elsam,  R. 
Lugar  and  J.  B.  Papworth  (1775- 1847),  whom  we  meet 
in  connection  with  Ackermann,  but  none  of  their  books 
will  bear  comparison  with  those  of  Repton.  Papworth's 
Rural  Residences  and  Hints  on  Ornamental  Gardening 
are  companion  volumes  well  printed  with  pleasing  little 
plates  and  a  practical  and  readable  text,  and  they  had 
great  success  abroad,  especially  in  Russia,  but  their 
contributions  to  the  subject  are  summed  up  in  the 
pages  of  Repton. 


CHAPTER  VIII 

WATER-COLOUR    PAINTERS    AS    TEACHERS,    AND    THEIR 
DRAWING-BOOKS 

A  SMALL  but  very  interesting  class  of  books  for  the 
illustration  of  which  aquatint  was  used  is  that  of  drawing- 
books.  It  has  been  shown  in  a  former  chapter  how  the 
art  of  painting  in  transparent  colours  on  a  white  ground 
developed  out  of  the  method  of  tinting  on  a  grey  one, 
but  "  the  transition  from  a  drawing,  completed  on  a 
shadow  tint,  over  which  the  local  colours  were  added  in 
transparent  washes,  was  slow,  and  grew  out  of  the 
enrichment  and  repetition  of  these  local  colours,  rather 
than  by  the  abolition  of  the  general  grey  preparation."  ^ 
The  artists  who  worked  in  the  earliest  or  stained  manner, 
that  is  to  say,  with  one  or  two  slight  colours  used  very 
unobtrusively  and  only  now  and  then  in  the  picture,  are: — 
Thomas  Malton  (i 726-1801) ;  Paul  Sandby  (172 5- 1809)  5 
S.  H.  Grimm  (1734-1794);  John  Webber  (1752-1793); 
John  Cleveley  (1745- 1786) ;  William  Pars  (1742- 1782) ; 
and  Michael  Angelo  Rooker  (i  743-1 801).  But  by  1790 
the  practice  of  tinting  had  become  bolder ;  colour  came 
to  be  used  over  the  whole  surface  of  the  drawing,  and 
thus    the   later   tinted    manner   succeeded    naturally   to 

'  A  Descriptive  Catalogue  of  the  Historical  Collection  of  Water-colour 
Paintings  in  the  South  Kensington  Museum,  with  an  introductory  notice  by 
Samuel  Redgrave,  1877. 
183 


WATER-COLOUR  PAINTERS  183 

the  earlier  stained  drawing,  developing  in  its  turn  into 
the  true  and  perfect  water-colour  method  of  pure  colour 
without  the  pen  outline  and  general  shadow  tints.  To 
the  later  period  of  the  tinted  manner  belong  the  work  of 
J.  A.  Gresse  (1741-1794);  J.  R.  Cozens  (1752-1799); 
Edward  Dayes  (?-i8o4);  Thomas  Malton,  Junior  (1748- 
1809),  and  Robert  Cleveley  (?-i8o9),  who,  like  his 
brother  above  mentioned,  was  a  painter  of  marine 
pieces.  Some  of  these  names  do  not  occur  at  all  in 
book  illustration,  but  the  drawings  of  nearly  all  were 
reproduced  in  aquatint.  Many  of  them  were  teachers 
also,  and  as  they  were  pioneers  of  a  new  and  popular 
art,  the  engraver  naturally  found  a  public  ready  for  his 
rendering  of  their  work.  There  is  no  doubt  too  that 
as  soon  as  aquatint  became  recognized  as  the  most 
perfect  form  of  engraving  for  reproducing  wash  draw- 
ings, these  were  made  in  a  way  that  would  enable  them 
to  be  thus  translated  with  the  least  possible  difficulty. 

The  true  method  of  water-colour  painting  became 
established  with  Girtin  and  Turner.  But  Turner  did 
not  wholly  reject  the  tinting  process,  especially  in  his  / 
early  work,  and  it  is  only  in  the  maturity  of  his  art  that 
it  is  not  found  at  all.  It  was  indeed  disused  so  slowly 
that  it  was  retained  by  some  long  after  it  had  been 
wholly  discarded  by  others,  and  such  artists  as  Francis 
Nicholson,  John  Varley  and  David  Cox  still  laid  in  their 
foregrounds  with  broad  masses  of  neutral  tint  and  added 
the  local  colour  over  it.  Nearly  all  the  early  exponents 
of  the  art  were  teachers,  members  of  a  new  profession, 
that  of  drawing-master,  and  numerous  enough  to  form  a 
body  of  considerable  importance.     A  cultivation  of  the 


i84  HISTORY  OF  AQUATINT 

fine  arts  was  part  of  the  education  of  every  member  of 
the  upper  classes.  Ladies,  in  particular,  took  to  drawing 
in  water-colours,  and  it  became  an  accomplishment  as 
universal  as  music  and  Italian  in  the  early  part  of  the 
nineteenth  century.  As  early  as  1790  we  find  the 
Society  of  Arts  offering,  among  "premiums  for  promot- 
ing the  Applied  Arts  "  ^ : — 

"  Honorary  Premiums  for   Drawings. 

169.  For  the  best  Drawing  by  sons  or  grandsons  of  peers 

or  peeresses  of  Great  Britain  and  Ireland,  to  be 
produced  on  the  first  Tuesday  in  March,  1791  ; 
the  gold  medal. 

1 70.  For  the  second  in  merit ;  the  silver  medal. 

171.  172.  The  same  premiums  will  be  given  to  daughters 

or  g-daughters  of  peers  or  peeresses  of  Great 
Britain  and  Ireland. 

N.B. — Persons  professing  any  branch  of  the 
polite  arts,  or  the  sons  and  daughters  of  such 
persons,  will  not  be  admitted  candidates  in  these 
classes." 

The  reason  of  the  last  clause  is  obvious  when  we 
remember  that  every  professional  artist  added  to  his 
income  by  giving  lessons,  while  some  devoted  their  time 
almost  exclusively  to  preparing  the  sketches  of  the 
amateur  for  the  engraver  to  illustrate  the  works  of  travel 
and  topography  that  were  becoming  increasingly  nume- 
rous. It  was  only  natural  that  the  teachers  most  sought 
after  in  their  day  should  inculcate  their  particular  method 
of  interpreting  nature  by  means  of  treatises  for  the  use 
^  Advt  in  Gentlemaris  Magazine,  vol.  be,  part  i.,  p.  458. 


WATER-COLOUR  PAINTERS  185 

of  their  pupils,  and  should  illustrate  them  by  reproduc- 
tions of  their  own  drawings.       About  thirty  of  these 
drawing-books,    with    aquatint    illustrations,   fall    within 
our  period ;  and,  if  some  of  them  were  little  more  than 
recipes  for  turning  out  the  popular  article  of  the  day, 
others  were  the  serious  outcome  of  the  experience  of  such 
masters  as  Francis  Nicholson,  David  Cox,  Samuel  Prout, 
T.  H.  A.  Fielding  and  John  Varley.     The  text,  as  well 
as  the  illustrations,  of  these  treatises  is  well  worth  the 
consideration    of    all    who    care   to    trace   the   gradual 
evolution  of  water-colour  painting.     Ackermann  had  an 
intimate  connection  with  this  as  with  other  branches  of 
art ;  he  published  a  large  number  of  the  early  drawing- 
books,  he  lent  drawings  to  copy  as  a  circulating  library 
lends   books,    and    issued    prints    specially  designed  as 
copies  for  the  use  of  students.     A   Treatise  on  Acker- 
mantis  Superfine   Water-Colours,  with  directions  to  pre- 
pare and  use  them,  including  succinct  hints  on  drawing 
and  painting  (1801),  recommends  the  study  of  Turner, 
Girtin  and  Westall,  and  gives  in  its  advertisement  a  list 
of  prints  available  for  the  purpose. 

Probably  the  earliest  text-book  of  instruction  to 
which  the  new  process  was  applied  was  The  Young 
Painter  s  Maulstick^  a  practical  treatise  on  perspective 
by  James  Malton,  published  in  i8cx),  addressed  to 
students  in  drawing,  in  which  aquatint  was  used  for  the 
tones  of  the  various  plates.  But  it  was  not  till  seven 
years  later  that  the  first  of  the  coloured  drawing-books 
appeared,  A  Practical  Essay  on  the  Art  of  Colouring 
and  Painting  Landscapes  in  Water  Colours^  accompanied 
with  ten  engravings,  by  John  Heaviside  Clark  (1770- 


i86  HISTORY  OF  AQUATINT 

1863),  sometimes  called  'Waterloo  Clark,'  from  the 
sketches  he  made  on  the  field  just  after  the  battle.  It 
was  published  in  1807  by  Edward  Orme,  Bond  Street, 
'where,'  it  is  stated,  'are  also  sold  Books  of  Instruction 
in  every  Branch  of  Drawing,  Colours,  Drawing  Books 
and  every  requisite  used  in  Drawing.'  J.  H.  Clark's 
Introduction  contains  the  following  passage,  as  applicable 
to  the  students  of  to-day  as  it  was  to  those  for  whom  he 
wrote  : — "  In  the  subjects  illustrating  this  essay,  the  chief 
consideration  has  been  the  simplest  method  of  producing 
the  particular  effects  :  consequently  they  are  slight,  and 
to  be  imitated  only  as  a  lesson,  or  illustration  of  the 
respective  instructions  in  regard  to  colouring.  No 
particular  manner  is  insisted  on,  the  observations  being 
common  to  all.  Indeed  it  is  absurd  to  attach  the  idea 
of  correctness  to  any  particular  style  :  for  manner,  or 
style,  is  good  or  bad,  in  proportion  to  its  approximation 
to  nature ;  and  the  very  appellation  of  a  mannerist 
always  implies  defect.  Similar  effects  may  be  produced 
by  a  variety  of  methods  :  but  doubtless  that  is  most  to 
be  approved,  which  most  resembles  the  grand  original, 
nature  itself.  This  is  the  ordeal,  which  every  produc- 
tion of  the  pencil  should  pass.  Hence  we  may  justly 
establish  it  as  a  maxim,  that  to  obtain  the  effect  is  the 
object  to  be  desired,  while  the  manner  in  which  it  is 
obtained  is  of  no  importance.  Every  artist  indeed  has 
a  style  peculiar  to  himself,  which  is  nothing  more  than 
a  mode  of  finishing  insensibly  fallen  into,  without  design 
in  the  first  instance,  and  improved  as  he  advances  in  his 
art.  But  everyone  who  chooses  to  exercise  his  judg- 
ment, may  examine   nature  with   his  own   eyes ;    and 


WATER-COLOUR  PAINTERS  187 

though  he  may  retain  a  deference  for  the  taste  of  others, 
yet  with  perseverance  the  lover  of  the  art  will  improve 
far  more  by  observing  nature,  than  by  imitating  the 
style  of  any  drawing."  Of  the  plates  in  illustration  six 
are  coloured,  the  tints  being  applied  very  simply  and 
slightly  in  marked  contrast  to  the  later  books,  and 
especially  to  that  other  work  of  J.  H.  Clark,  published  in 
1824,  A  Practical  Illustration  of  Gilpin  s  Day,  repre- 
senting the  various  effects  on  landscape  scenery  from 
morning  till  night.  In  W.  Gilpin's  Essays  on  Pictorial 
Beauty  there  is  a  poem  in  which  occur  the  lines  from 
which  Clark  took  the  title  for  his  book  : 

"  Observe  how  she  upheaves 
The  mountain's  towering  brow ;  on  its  rough  sides 
How  broad  the  shadow  falls  ;  what  different  hues 
Invest  its  glimmering  surface. 
The  sky  whate'er  its  hue,  to  landscape  gives 
A  corresponding  tinge.     The  morning  ray 
Spreads  it  with  purple  light,  in  dewdrops  steeped ; 
The  evening  fires  it  with  a  crimson  glow. 
With  studious  eye  examine  next  the  vast 
Ethereal  concave,  mark  each  floating  cloud ; 
Its  form,  its  colour ;  and  what  a  mass  of  shade 
It  gives  the  scene  below,  pregnant  with  change 
Perpetual,  from  the  morning's  purple  dawn. 
Till  the  last  glimmering  ray  of  russet  eve." 

The  thirty  aquatints  give  the  effects  from  "  Dawn  of 
Day"  to  "  Waning  Moon"  passing  through  the  various 
kinds  of  sunrise,  the  effects  of  haze  and  cloud,  storm, 
rainbow  and  lightning,  to  the  striking  changes  produced 
by  moonlight.  The  text  to  each  plate  describes  the 
variations  of  nature,  followed  by  the  precise  details  for 
colouring  each  part  of  the  scene  in  order  to  secure  the 

M 


i88  HISTORY  OF  AQUATINT 

right  effect.  The  plates  are  full  of  interest,  for  they 
show  the  different  devices  resorted  to  in  the  later 
period  when  aquatint  plates  were  so  executed  that  the 
impressions  from  them  should  have  as  close  a  resem- 
blance as  possible  to  water-colour  sketches.  Several  of 
these  plates  show  that  the  burnisher  has  been  used  in 
order  to  give  the  appearance  of  rising  mist,  fleecy  cloud, 
and  other  strong  effects  of  light ;  occasionally,  where 
these  effects  are  wanted  on  a  smaller  surface,  as  in  the 
case  of  the  moon  shining  on  water,  the  colourist  has 
used  a  knife  to  scrape  away  the  paint,  as  can  be  seen 
in  No.  29,  **  Clear  Moonlight.''  Another  attempt  to 
obtain  the  appearance  of  an  original  water-colour 
drawing  is  seen  in  the  treatment  of  foliage,  where  the 
tints,  instead  of  following  carefully  the  tone  gradations 
of  the  aquatint  ground,  are  put  on  by  hand  in  blots  of 
colour  without  reference  to  the  outline  made  by  the 
different  bitings.  The  ground  used  throughout  is  a 
somewhat  coarse  one  ;  had  it  been  finer  the  imitation 
would  have  been  even  more  striking  than  it  is.  The 
book  is  both  interesting  and  instructive,  especially 
when  compared  with  the  earlier  and  simpler  treatment 
of  aquatint  plates  and  the  impressions  taken  from 
them. 

Another  J.  Clark  {1800?- 1830),  to  be  distinguished 
from  J.  H.  Clark,  engraved  one  of  the  early  books  for 
students,  Practical  Perspective  exemplified  in  Landscapes, 
by  Thomas  Noble,  Professor  of  Perspective,  published  by 
Orme  in  1809.  The  second  edition,  in  the  same  year, 
contains  an  "  Essay  on  the  Practice  of  Taking  Views." 
In    1826  J.  Clark  produced  a  second  work,  which  was 


WATER-COLOUR  PAINTERS  189 

published  by  S.  Leigh,  The  Amateurs  Assistant,  or 
a  Series  of  Instructions  in  Sketching  from  Nature,  the 
Application  of  Perspective,  Tinting  of  Sketches,  Drawing 
in  Water  Colours  and  Transparent  Painting  for  use  in 
the  Portable  Diorama.  This  was  a  contrivance  invented 
by  Daguerre  and  Boulton  for  producing  by  optical 
illusion  the  effects  of  nature  when  looking  at  architectural 
or  landscape  drawings.  The  comprehensive  title  of  the 
book  is  hardly  justified  by  the  results.  It  is  of  little 
importance  except  to  the  inquirer  into  aquatint  technique, 
for  whom  it  provides  a  water-colour  sketch  printed  in 
blue  and  bitten  in  three  successive  stages,  a  fourth  stage 
showing  the  addition  of  slight  hand-tinting. 

In  1808  appeared  Joshua  Bryant's  Treatise  on  the 
Use  of  Indian  Inks  and  Colours.  The  object  of  the 
book  was  to  introduce  a  scheme  for  what  he  called 
"Stenographia  Graphica,  or  a  new  method  of  writing 
down  colours,"  whereby  the  primitive  colours  and  their 
auxiliaries  could  be  expressed,  both  singly  and  in  com- 
bination, by  means  of  a  few  letters  of  the  alphabet.  He 
incidentally  alludes  to  the  discovery  of  a  *'  new  bistre 
by  Mr  Ackermann  of  the  Strand,  possessing  qualities 
wanting  in  the  common  bistre."  Nine  of  the  plates 
are  from  his  own  work,  but  as  he  did  not  wish  "that 
his  drawings  alone  should  be  held  up  for  imitation," 
there  are  two  plates  from  Barret,  one  from  Manskirsh, 
two  from  Cocking,  and  one  from  G.  Holmes.  Plate 
No.  14,  by  J.  Bluck  after  W.  H.  Pyne,  is  a  very  clear 
example  of  two  printed  colours,  the  foreground  being 
in  a  rich  brown  tint,  the  water  and  distant  hills  in  blue  ; 
several  of  the  coloured  plates  are  printed  in  more  than 


I90  HISTORY  OF  AQUATINT 

one  tint,  but  this  is  the  only  example  without  the 
addition  of  hand-colouring.  The  plates  were  intended 
as  copies  for  beginners,  and  it  is  perhaps  due  to  this 
fact,  coupled  with  the  other  purpose  of  the  book — i.e. 
the  analysis  of  colour — that  the  illustrations  are  par- 
ticularly good  examples  of  pure  and  delicate  colour 
work,  the  "  Cottage  in  Hyde  Park'*  by  Harraden  after 
Bryant,  and  a  ''View  at  Hastings''  by  J.  Bluck  after 
Cocking,  being  especially  attractive.  In  the  two- tint 
plate  after  Pyne,  the  publication  line  is  in  brown  like 
the  foreground ;  in  that  of  Monmouth  Church,  an 
effective  moonlight  scene  after  Manskirsh,  it  is  in  blue, 
that  being  the  printing  tint  of  the  plate.  In  several 
of  the  engravers'  signatures  we  find  the  word  aqua*' 
instead  of  sculps- 

Ackermanns  New  Drawing  Book  of  Light  and 
Shadow  in  Imitation  of  Indian  Ink  (1809)  is  not  of 
special  interest ;  the  plates  are  in  monochrome,  and 
the  grain  of  the  aquatint  ground  is  coarse,  but  the 
subjects  are  pleasing,  if  somewhat  hackneyed.  In  a 
brief  introduction,  concerning  "the  elegant  and  pleasing 
study  of  Drawing  in  Water  Colours,"  we  read  : — "  It  is 
with  feelings  of  national  exultation  that  we  can  ascribe, 
in  a  great  degree,  this  improvement  in  so  elegant  a 
department  of  the  fine  arts,  to  our  lovely  countrywomen. 
It  is  to  the  cultivation  of  the  study  of  the  drawing  in 
water-colours  by  the  enlightened  ladies  of  our  time  that 
the  best  artists  have  owed  their  encouragement ;  and  the 
patronage  of  the  fair  sex  has  thus  produced  an  epoch  in 
art  which  will  be  a  lasting  honour  to  the  country."  In 
the    same  year  appeared  Ackennanri s   New  Drawing 


WATER-COLOUR  PAINTERS  191 

Booky  comprising  Groups  of  Figures,  Cattle  and  other 
Animals  for  the  Embellishment  of  Landscape,  designed 
and  engraved  by  J.  F.  Manskirsh.  The  plates,  repre- 
senting spirited  country  scenes,  many  of  them  in  the 
style  of  Morland,  are  executed  in  soft  ground  etching 
and  aquatint.  Franz  Joseph  Manskirsh  was  a  German 
landscape  painter  and  engraver,  who  about  1796  came 
to  live  for  a  time  in  England  ;  his  name  seems  to  be 
written  indifferently  Mankirch,  Manskirsh  or  Manskirsch, 
and  his  initials  J.  F.  or  F.  J. 

In  W.  H.  Pyne's  Rudiments  of  Landscape  Drawings 
in  a  Series  of  Early  Examples  (181 2)  there  are  two 
interesting  uncoloured  plates,  showing  the  same  scenes 
with  different  effects  of  light ;  the  coloured  plates  are 
roughly  tinted,  though  there  is  one  of  a  windmill  scene, 
entitled  Evening,  which  has  all  the  charm  of  a  drawing 
by  De  Wint. 

F.  Calvert's  Lessons  on  Landscape  {\%\^,  a  somewhat 
pretentious  book,  is  poor  from  every  point  of  view,  the 
drawing  without  interest  and  the  colouring  crude  and 
heavy.  As  one  of  the  many  attempts  to  take  away  "  the 
perplexing  difficulties"  that  blocked  the  path  of  the 
youthful  aspirant  to  water  -  colour  fame,  the  nature  of 
its  instruction  is  to  be  gathered  from  the  following 
extract : — "  The  rules  of  art  are  as  simple  as  the  lessons 
of  Nature,"  says  this  unblushing  instructor,  "  and  those 
who  adopt  the  former  as  they  are  here  delineated  will 
find  it  no  uneasy  task  to  produce  faithful  representations 
of  the  latter." 

An  interesting  comment  on  the  fashion  of  amateur 
artists,  previously  spoken  of,   and   the   attitude  of   the 


192  HISTORY  OF  AQUATINT 

drawing-master  towards  them,  is  to  be  found  in  the  firm 
stand  made  by  Nicholson  in  bringing  to  the  notice  of 
the  Society  of  Arts  the  practice  of  masters  working  on 
the  drawings  of  their  pupils  when  these  were  candidates 
for  premiums  offered  by  the  Society.  How  necessary 
such  an  attitude  was  may  be  illustrated  by  a  quotation 
or  two: — "You  know  her  father  was  our  drawing- 
master,  Mamma,  at  Chiswick,  and  used  to  do  all  the 
best  parts  of  our  drawing." 

"  My  love!  I'm  sure  I  always  heard  Miss  Pinkerton 
say  that  he  did  not  touch  them — he  only  mounted 
them." 

"It  was  called  mounting.  Mamma."  ^ 

Again,  the  following  testimonial  was  given  to  J.  T. 
Smith  by  Sir  James  Winter  Lake,  on  his  applying  for 
the  post  of  drawing-master  to  Christ's  Hospital  : — 
"  We  have  known  Mr  Smith  for  upwards  of  fourteen 
years,  and  we  have  found  him  an  able  drawing-master 
to  our  daughter,  whose  drawings  he  has  never  touched 
upon — a  practice  too  often  followed  by  drawing-masters 
in  general ;  and  we  believe  him  to  be  a  truly  valuable 
member  of  society,  as  a  husband,  father,  and  good  man. 

"  James  Winter  Lake. 
"Jessy  Lake."^ 

The  fashion  of  drawing  in  water-colours  was  largely 
facilitated  by  the  improvement  in  artists'  materials  that 
took  place  about  this  time.  About  1780  Messrs  Reeves, 
as  already  mentioned,  began  their  experiments  with  the 
water-colour  cakes  that  have  ever  since  been  associated 

'  Vanity  Fair,  chap.  iv. 

^  J.  T.  Smith,  Book  for  a  Rainy  Day,  ed.  W.  Whitten,  1905,  p.  167. 


WATER-COLOUR  PAINTERS  193 

with  their  name,  and  in  the  following  year  the  Society  of 
Arts  awarded  them  their  silver  palette  for  the  improve- 
ments they  had  brought  about.  Henceforth  the  artist 
had  no  longer  to  grind  and  prepare  his  own  dry  colours, 
and  the  amateur  had  his  tools  ready  to  hand. 

Edward  Dayes  was  another  teacher  of  water-colour 
who  was  also  a  writer  on  the  methods  he  taught.  He 
left  some  MS  notes,  entitled  Professional  Sketches 
of  Modern  Artists,  of  a  somewhat  spiteful  character, 
especially  as  regards  Girtin,  towards  whom  his  attitude 
is  peculiarly  unjustifiable. 

No  one  interested  in  this  epidemic  of  instruction  in 
water-colour  painting  should  omit  to  read  the  series  of 
papers  by  W.  H.  Pyne,  already  mentioned ;  and  if, 
writing  a  quarter  of  a  century  later  in  the  Somerset 
House  Gazette,  Pyne  was  somewhat  severe  on  what  he 
considered  the  degradation  of  the  new  art,  he  spoke 
from  the  experience  of  a  long  life  spent  in  constant 
association  with  the  artists  of  his  day.  He  was,  more- 
over, a  practitioner  himself  in  the  art  that  he  criticised, 
and  had  two  sons  who  followed  his  career,  one  of  whom 
married  a  daughter  of  John  Varley. 

It  was  Alexander  Cozens  (d.  1786)  who  first  began 
the  practice  of  teaching  the  new  art  of  landscape  drawing 
to  the  young  ladies  of  his  day.  One  of  two  sons  born 
to  Peter  the  Great  by  an  Englishwoman,  he  came  to 
England  in  1746,  married  an  English  wife,  and  some 
five  and  twenty  years  later  was  practising  in  Bath,  then 
a  centre  of  fashion.  Sheridan  went  there  in  1771,  and 
in  the  same  year  appeared  Smollett's  Humphrey  Clinker, 
which  was  probably  influenced  by  Anstey's  New  Bath 


194  HISTORY  OF  AQUATINT 

Guide,  published  in  1766,  the  year  in  which  the  new 
Assembly  Rooms  were  opened.  The  following  passage 
from  Sheridan's  Life  graphically  describes  the  atmos- 
phere of  the  place  in  these  days  : — "  From  all  quarters 
of  the  globe  congregated  not  only  the  invalid  to  gain 
health  from  the  thermal  springs,  but  the  dissipated,  and 
also  the  lovers  of  the  arts.  Bilious  East  Indians,  Irish 
fortune-hunters,  gouty  statesmen,  ladies  of  rank  chiefly 
remarkable  for  the  delicacy  of  their  reputation,  went 
there  to  seek  relief  from  ennui.  To  furnish  relief  for 
them  there  was  an  admirable  theatre,  time  out  of  mind 
the  nursery  for  the  London  stage,  and  concerts,  such  as 
were  not  to  be  outrivalled  in  Europe,  and  private  parties 
of  every  description,  where  music,  dancing,  or  poetry 
was  the  ruling  passion."^ 

The  following  skit,  indicative  of  the  prevailing  art 
epidemic,  appeared  about  1787,  and  is  quoted  by  W. 
Thornbury  in  his  Life  of  Turner : — "  What  a  fine,  clear 
morning !  I  will  do  my  sky.  Betty  !  tell  your  mistress, 
if  any  one  calls,  I  cannot  be  seen — I'm  skying.  Betty! 
Betty!  bring  me  up  a  pan  of  water,  and  wash  that 
sponge :  it  really  is  so  hot,  I  cannot  lay  my  colour 
smooth.  Where's  the  flat  brush  ?  Oh  dear !  that 
Prussian  blue  is  all  curdled."  *'  Please,  pa,  ma  says,  will 
you  take  any  refreshment  ?  "  "Get  away!  get  away! 
however  can  your  ma  think  about  refreshment  when 
she  knows  I'm  doing  my  sky  .-^  There,  you've  knocked 
down  my  swan's  quill,  and  how  am  I  to  soften  this 
colour?  It  will  all  be  dry  before  you  wash  out  the 
dirt.     Give  me  that  brush.     Oh,  it  is  full  of  indigo! 

*  Life  of  Sheridan,  prefixed  to  Bohn's  edition  of  his  Dramatic  Works. 


WATER-COLOUR  PAINTERS  195 

There  is  the  horizon  spoilt !  Quick !  quick  !  some  water ! 
Oh,  that's  gall !  And  the  sky  is  flying  away !  Why 
did  your  mother  send  you  here?  She  might  have 
known  that   I   was  skying." 

Gainsborough,  in  whom  music  was  a  ruling  passion — 
and  Bath,  as  we  have  seen,  was  very  musical — though 
never  a  teacher  of  art,  had  lived  at  Bath  for  fourteen 
years  before  Cozens  went  there.  His  landscape  style 
became  a  craze,  and  the  fashionable  idlers  of  the  place 
took  his  picturesque  sketches  as  their  models,  and  tried 
to  imitate  his  effects.  Into  this  heritage  of  enthusiasm 
and  atmosphere  of  dilettantism  came  Cozens,  who,  says 
Roget,  "though  styled  the  'father'  of  our  Water  Colour 
School,  as,  indeed,  were  many  others,  would  be  more 
accurately  described  as  the  father  of  its  schoolmasters. 
He  seems  to  have  been  the  first  who  professed  to  conduct 
a^nateurs  along  a  royal  road  to  the  production  of  pretty 
pictures,  without  imposing  upon  them  the  hard  study  and 
careful  observation  of  nature  necessary  to  a  thorough  prac- 
titioner in  art."  Cozens  was  the  possessor  of  a  '  style,'  or, 
as  some  would  have  it,  a  mechanical  trick  for  producing 
effects.  He  described  his  process  in  a  pamphlet  entitled 
A  New  Method  of  Drawing  Original  Landscapes,  and 
we  may  gather  that  the  results  were  calculated  to  pro- 
duce the  same  sort  of  result  upon  the  spectator  that  the 
most  extreme  form  of  impressionism  does  at  the  present 
day.  W.  H.  Pyne,  in  the  series  of  papers  on  The  Rise 
and  Progress  of  Water-Colour  Painting  in  England 
that  he  contributed  to  the  Somerset  House  Gazette, 
roundly  denounces  him  for  a  charlatan  and  for  having 
degraded   the   practice   of  water-colour   painting ;    but 


196  HISTORY  OF  AQUATINT 

possibly  Cozens'  own  application  of  his  process  was 
justified  by  success,  and  the  mistake  lay  in  fostering  in 
his  pupils  a  method  which  they  adopted  parrot  fashion, 
without  using  their  own  eyes  in  the  study  of  nature. 
Anyway  the  forty  years  he  spent  in  England  were 
crowned  with  success  :  he  was  drawing-master  at  Eton, 
gave  lessons  to  the  Prince  of  Wales  and  many  of  the 
nobility,  and  Avas  much  sought  after  by  the  artists  and 
connoisseurs  of  his  day. 

Alexander  Cozens'  more  famous  son  John  does  not 
seem  to  have  taught,  and  after  Paul  Sandby,  who,  as 
has  been  noted,  was  always  much  in  request  as  a  teacher, 
John  Alexander  Gresse  and  John  Laporte  next  come 
under  notice  as  teachers  of  water-colour  painting.  The 
former,  of  Genevese  parentage,  had  an  appointment  at 
Court  as  drawing-master  to  the  princesses,  daughters  of 
George  I J  I.  The  latter,  besides  being  one  of  the  masters 
at  Addiscombe  Military  College,  reckoned  among  his 
pupils  Dr  Monro,  the  future  patron  of  young  artists. 
But,  after  Cozens,  the  man  who  again  developed  a 
style  which  became  once  more  a  fashionable  craze 
among  amateurs  was  William  Payne.  The  date  of 
his  birth  is  not  known,  but  in  1790  he  left  Devonshire, 
his  native  county,  and  came  to  London,  exhibiting 
at  Somerset  House.  His  rapid  success  as  a  teacher, 
however,  left  him  little  time  for  original  work  ;  he  ceased 
to  become  an  exhibitor  and  gave  himself  up  to  forming 
pupils  on  the  lines  of  his  particular  method  of  technique. 
The  Redgraves  in  their  Century  of  Painters  describe 
the  characteristics  of  his  procedure  in  the  following 
manner  : — "  Payne   adopted   many   peculiarities    in   his 


WATER-COLOUR  PAINTERS  197 

method  of  execution,  some  of  which  are  valuable  addi- 
tions to  the  art.  He  abandoned  the  use  of  outline  with 
the  pen.  His  general  process  was  very  simple.  Having 
invented  a  grey  tint  (still  known  by  the  colourmen  as 
Payne's  grey),  he  used  it  for  all  the  varied  gradations  of 
his  middle  distance,  treating  the  extreme  distance,  as 
also  the  clouds  and  sky,  with  blue.  For  the  shadow,  in 
his  foreground,  he  used  Indian  ink  or  lamp-black,  break- 
ing these  colours  into  the  distance  by  the  admixture  of 
grey.  In  this  he  but  slightly  differed  from  the  other 
artists  of  his  time,  but  his  methods  of  handling  were 
more  peculiarly  his  own.  These  consisted  in  splitting 
the  brush  to  give  the  forms  of  foliage,  dragging  the  tints 
to  give  texture  to  his  foregrounds,  and  taking  out  the 
forms  of  lights  by  wetting  the  surface  and  rubbing  with 
bread  or  rag.  He  seems  to  have  been  among  the  first 
who  used  this  practice,  which,  in  the  hands  of  Turner, 
became  such  a  powerful  aid  to  effect  and  enabled  the 
early  painters  in  water-colour  to  refrain  from  using  white 
or  solid  pigments  in  the  lights. 

Having  thus  prepared  a  vigorous  light  and  shadow, 
Payne  tinted  his  distance,  middle  distance,  and  fore- 
ground with  colour,  retouching  and  deepening  the 
shadows  in  front  to  give  power  to  his  work,  and  even 
loading  his  colour  and  using  gum  plentifully.  He 
sought  to  enrich  scenes  wherein  he  had  attempted 
effects  of  sunset  or  sunrise  by  passing  a  full  wash  of 
gamboge  and  lake  over  the  completed  drawing.  He 
abandoned  mere  topography  for  a  more  poetical  treat- 
ment of  landscape  scenery,  and  although  he  has  none  of 
the  delicacy  of  (John)  Cozens,  and  rarely  touches  our 


198  HISTORY  OF  AQUATINT 

sympathies,  he  set  an  example  of  what  might  be  done, 
even  in  the  simpler  practice  of  "tinting"  by  accidental 
effects,  by  selection  of  forms,  by  sun-rays  piercing 
through  clouds  which,  like  Cozens,  he  obtained  by  wash- 
ing out,  by  mists  and  vapours  introducing  such  treatments 
into  the  practice  of  the  art."^ 

Francis  Nicholson  (1753- 1844),  one  of  the  founders  of 
the  Old  Water-Colour  Society,  came  of  a  humble  York- 
shire family,  and,  like  many  another  born  artist,  struggled 
through  all  his  early  youth  against  the  parental  desire  to 
keep  him  to  the  family  trade.  Brought  up  in  Pickering, 
where  his  father  was  a  tailor,  he  developed  a  great  dis- 
taste for  the  agricultural  life  around  him,  and  records  in 
his  autobiographical  notes  how,  when  he  finally  came  to 
London  for  instruction,  and  the  finest  landscapes  of 
Wilson,  Barret,  and  others  were  pointed  out  to  him,  he 
only  said  :  "I  hate  to  look  at  them,  they  are  so  like  the 
country."  Want  of  funds,  however,  obliged  him  to 
return  home  after  a  few  months,  and  he  then  entered 
on  the  usual  occupation  of  the  young  artist  of 
the  period,  making  views  of  gentlemen's  houses  and 
grounds.  At  the  age  of  thirty  he  went  to  Whitby, 
and  there  developed  what  must  have  been  really  an 
innate  love  of  the  country,  a  love  checked  in  youth  by 
the  inevitable  circumscription  of  life  involved  in  it. 
Henceforward,  he  settled  down  as  a  landscape  draughts- 
man, finding  a  ready  market  for  his  very  numerous 
works,  and,  later  on,  attaining  to  the  distinction  of  hav- 
ing his  drawings  fraudulently  copied,  for  so  great  was 

^  A  Century  of  Painters  of  the  English  School^  R.  &  S.  Redgrave.    Vol.  i. 
p.  382. 


WATER-COLOUR  PAINTERS  199 

the  demand  for  his  work,  that  these  imitations  were 
readily  bought  by  dealers.  He  was  a  man  of  much 
ingenuity,  and  multiplied  his  drawings  by  etching  the 
outlines  on  a  soft  ground,  taking  impressions  in  black 
lead,  and  completing  the  copies  by  hand.  In  this  way 
he  "manufactured,"  as  he  said,  "an  incredible  number 
of  drawings."  He  reversed  the  practice  of  the  time, 
which  was  to  lay  the  lightest  tints  of  a  drawing  first,  and 
invented  a  method  whereby  the  darker  colours  were 
first  put  on,  and  the  high  lights  stopped  out  by  a  com- 
position insoluble  in  water,  but  easily  removed  by  the 
application  of  turpentine.  This  is  described  in  the 
Transactions  of  the  Society  of  Arts  for  1799,  and  also  in 
his  Practice  of  Drawing. 

After  going  to  Bute  with  Lord  Bute  to  make  a  set  of 
views  of  the  island,  he  finally  settled  in  London,  and, 
like  nearly  all  of  his  profession,  gave  lessons  to  amateurs. 
It  was  in  this  capacity  that  he  produced  in  1820  The 
Practice  of  Drawing  and  Painting  Landscape  from 
Nature  in  Water  Colours,  published  by  J.  Booth  and  T. 
Clay,  and  dedicated  to  the  Hon.  Mrs  Fortescue.  It 
went  rapidly  through  many  editions,  of  which  the  second, 
published  by  John  Murray  in  1823,  should  be  compared 
with  the  original,  as  in  it  the  folding-plate  of  the  first 
edition,  containing  a  coloured  aquatint  by  T.  Fielding 
after  Nicholson,  and  four  sketches  showing  the  mode  of 
laying  successive  washes  in  water-colour,  is  reproduced 
by  lithography,  coloured  by  hand  like  the  aquatint.  A 
glance  at  the  two  will  suffice  to  show  that  lithography  is 
quite  unsuited  to  the  addition  of  colour.  The  substratum 
of  black  is  everywhere  apparent,   giving  a  coarse  and 


200  HISTORY  OF  AQUATINT 

dirty  look  which  is  most  unpleasing,  and  taking  away  the 
possibiHty  of  any  transparency  of  effect.  The  French 
early  realized  this,  and  part  of  the  success  attained  by 
Lami  and  Monnier,  who  worked  in  England  about  1830, 
and  whose  coloured  lithographs  are  often  most  pleasing, 
is  due  to  the  fact  that  they  used  the  process  mainly  for 
outline  and  shadows,  so  that  there  is  no  black  underlying 
the  other  parts,  which  are  left  clear  for  the  colours. 
Nicholson  himself  is  said  to  have  made  over  800  draw- 
ings on  stone,  and  thereby  to  have  given  a  great  stimulus 
to  lithography. 

The  Practice  of  Drawing  is  a  somewhat  elaborate 
treatise,  but  full  of  interest,  as  showing  how  far  in  1820 
water-colour  landscape  art  had  become  emancipated 
from  the  earlier  traditions  of  the  stained  drawing.  Of 
the  four  processes  that  he  describes,  three  have  the 
subject  first  laid  on  in  grey,  and  only  the  fourth  suggests 
beginning  with  local  colour.  His  own  comments  on  the 
latter  method,  moreover,  show  that  he  was  not  himself 
wholly  converted,  though  he  gives  the  following  excel- 
lent definition  of  local  colour : — "  By  original  or  local 
colour  is  meant  the  colour  of  the  object,  when  seen  by  a 
full  clear  light,  and  at  a  small  distance.  This  is  altered 
by  several  causes,  such  as  the  distance  of  the  object,  the 
reflected  colour  communicated  to  it  by  near  objects  of  a 
different  colour,  or  its  being  seen  through  a  coloured 
medium,  as  that  of  a  hazy  atmosphere." 

John  Varley  (1778-1842),  another  of  the  foundation 
members  of  the  Old  Water  -  Colour  Society  and  an 
intimate  friend  of  Nicholson,  had  also  to  overcome 
many   difficulties   in   the   pursuit    of  his    art   and   was 


WATER-COLOUR  PAINTERS  201 

one   of  the   many  students  who   owed   much    in  early 
life  to  the  patronage  of  Dr  Monro  (i  759- 1833).     The 
doctor,    who   had    a    house    in    Adelphi    Terrace,    was 
a    distinguished     connoisseur    as    well     as    physician, 
and  possessed  an  extensive  collection  of  pictures  and 
engravings.     His   name  is   associated  with  the  history 
of  water-colour  painting  in  its  evolution  from  the  tinted 
drawing   to   its   final   perfected    form,    for    he    exerted 
himself,  both  as  teacher  and  patron,  to  help  the  young 
artists   of  the   day    who   were   struggling    to    pourtray 
landscape  in  transparent  colour.     He  himself  had  been 
a  pupil  of  John   Laporte  and  J.   A.   Gresse,  and  was 
an  ardent  sketcher,  constantly  making  outline  drawings 
which  were  filled  up  and  coloured  under  his  supervision 
by  the  young  draughtsmen  who  came  to  his  house  of 
winter  evenings.    They  drew  at  desks  placed  in  opposite 
lines  by  the  light  of  one  candle  to  every  two  students, 
and  were  given   2s.   or  2s.   6d.   an   evening  and    their 
supper.       Monro    had    many    drawings,    especially   by 
Gainsborough  and  Cozens,  which  he  allowed  them  to 
copy,  and  was  also  in  the  habit  of  inviting  them  to  sketch 
from  nature  at  his  country-house.     Girtin  and   Turner 
were  constant  in  their  attendance,  and  Joshua  Cristall, 
John  Varley,  Peter  De  Wint,  W.   H.   Hunt,  and  John 
Linnell  all  took  advantage  of  his  generous  patronage. 
Varley  went  with  him  about   1800  to  his  first  country- 
house  at  Fetcham,  in  Surrey,  to  make  coloured  drawings 
of  the  neighbourhood  of  Boxhill,  and  later  took  a  studio 
near  Adelphi  Terrace,  so  that  the  doctor  might  continue 
to    supervise    his   work.       Like    all    his    fellow-artists, 
Varley  soon  began  to  teach ;  in  the  course  of  his  career 


202  HISTORY  OF  AQUATINT 

he  had  many  distinguished  painters  as  his  pupils,  and 
to  the  end  of  his  life  no  teacher  was  more  sought 
after.  David  Cox,  De  Wint,  Copley  Fielding,  John 
Linnell,  W.  Hunt,  and  Samuel  Palmer  all  profited  by 
his  help,  often  gratuitously  given — though  his  ordi- 
nary terms  were  a  guinea  an  hour — and  always  with 
an  enthusiasm  and  openness  that  made  him  the  most 
popular  of  masters.  That  he  had  the  art  of  exposition 
is  obvious  from  his  published  writings.  "If  ever  an 
artist,"  says  Roget,  "  painted  with  brains  as  well  as 
colour,  it  was  John  Varley."V  "As  a  preceptor,"  says 
Pyne,  "we  know  of  no  one  to  prefer  to  Mr  Varley 
when  he  sets  to  it  doggedly,  for  no  artist  perhaps  has 
ever  studied  his  department  with  more  abstract  reason- 
ing upon  cause  and  effect."  The  book  referred  to  in 
Chapter  III.  in  connection  with  Pyne's  remarks  on  the 
suitability  of  aquatint  as  a  medium  for  reproducing 
water-colour  painting  is  A  Treatise  on  the  Principles 
of  Landscape  Design^  with  General  Observation  and 
Instructions  to  Young  artists^  illustrated  with  sixteen 
highly  finished  Views.  These  views  are  engraved  in 
aquatint,  printed  in  brown  ink,  two  on  a  plate,  and 
the  eight  plates  with  explanatory  text  were  issued  as 
serial  numbers  at  5s.  apiece. 

He  was  particularly  happy  in  the  unconventional 
sayings  with  which  he  sought  to  impress  upon  his  pupils 
the  principles  that  he  considered  of  chief  importance, 
and  this  gift  of  vivid  illustration,  with  its  striking  per- 
ception  of  forcible   analogies,   appears  also,  though   in 

1  History  of  the  Old  Water-Colour  Society,  J.  L.  Roget,  1891,  rol.  i.  pp.  3 
and  4  ;  Somerset  House  Gazette,  I.  i.  3. 


WATER-COLOUR  PAINTERS  203 

less  degree,  in  the  text  of  his  treatises.  His  other  and 
less  important  work  is  Precepts  of  Landscape  Drawings 
exemplified  in  15  Views;  with  Instructions  to  Young 
Artists.  It  consists  only  of  two  folio  plates,  folded  in 
quarto,  one  engraved  by  F.  C.  Lewis,  the  other  by 
Joshua  Gleadah,  the  one  having  nine  and  the  other 
six  small  aquatint  views,  with  a  note  to  each  explaining 
its  particular  feature.  In  both  books  the  views  are 
nearly  always  of  Welsh  subjects,  for  Varley  was  one 
of  the  many  artists  of  that  time  who  found  their 
inspiration  chiefly  in  that  country.  Of  his  belief  in 
astrology  and  his  often  verified  predictions  this  is  no 
place  to  speak ;  it  is  enough  to  recall  that  it  was  for 
him  that  Blake  drew  the  Ghost  of  a  Flea  and  his 
strange  Visionary  Heads,  and  that  the  portrait  of  Varley 
now  hanging  in  the  National  Portrait  Gallery  is  a  sketch 
from  the  same  inspired  hand. 

Next  in  order  come  the  two  drawing  -  books  of 
Samuel  Prout  (1785-1852).  He  began  life  as  draughts- 
man to  John  Britton,  the  antiquary  and  topographer, 
whose  Beauties  of  England  and  Wales,  undertaken  in 
co-operation  with  Edward  Brayley,  forms  a  landmark 
in  county  history  ;  but  it  was  not  until  after  a  visit  to 
France  in  1818  or  1819  that  his  real  vocation  became 
apparent.  It  was  only  during  the  brief  interval  of 
peace  produced  by  the  Treaty  of  Amiens,  and  again 
at  the  close  of  the  Napoleonic  wars,  that  artists  were 
able  to  travel  on  the  Continent.  Henry  Edridge  was 
the  first  to  break  new  ground  in  this  way,  but  Prout 
followed  almost  immediately,  and  the  architectural 
drawings    that    he    brought    back    from    Normandy   at 


204  HISTORY  OF  AQUATINT 

once  gave  him  his  position.      His  masterly  treatment 
of  light  and  shade,  and  the  broken  Hne  which  was  so 
effective  in  giving  the  feeHng  of  time-worn  stone,  ap- 
pealed to  an  age  that  was  specially  interested  in  the 
picturesqueness  of  decay.     His  representations  of  foreign 
streets  are,  in  their  way,  unsurpassed,  and  for  the  re- 
mainder of  his  life  he  was  the  acknowledged  draughts- 
man   of   continental    cities.      He   also   became   a   very 
popular  teacher,  and  circulated  many  designs  for  students. 
Many  of  these  were  reproduced  in  soft  ground  etching, 
a  process  seen  at  its  best  in  the  period  between  aquatint 
and    lithography.      Besides    twenty  -  three    plates    con- 
tributed to  Britton's  work  from   1803  ^^  1813,  he  wrote 
several  books  for  Ackermann's  educational  series,  two  of 
which,  being  partly  illustrated  in  aquatint,  concern  us  here. 
The  Rudiments  of  Landscape  in  Progressive  Studies 
drawn  and  etched  in  Imitation  of  Chalk  (i  8 1 3)  is  in  three 
parts,  each  containing  twenty-four  large  plates,  together 
with  instructions  in  the  text.     Part  I.  contains  studies  of 
rustic  and  other  architecture  in  soft  ground  etching,  in 
Part    II.   the   shadows   are    put    in  aquatint,   after   the 
manner  of  a  sepia  drawing,  while   Part    III.    contains 
sixteen  fine  coloured  aquatints.     The  style  of  these  is 
bold  and  the  grain  of  the  ground  somewhat  coarse,  so 
that,  while  effective  at  a  distance,  they  do  not  resemble 
water-colours   so   nearly  as  do  the  plates    in   his  later 
book.     The  predominance  of  the  wash  of  neutral  tint 
is  apparent  in  most  of  them.     They  are  very  various  in 
subject,  but   Plates  53   and  56  are   especially  fine,    re- 
minding one  in  subject  and  treatment  of  the  work  of 
David  Cox. 


WATER-COLOUR  PAINTERS  205 

Prout  supplemented  this  book  in  1820  with  A  Series 
of  Easy  Lessons  in  Landscape  Drawing,  contained  in  40 
Plates,  arranged  progressively  from  the  first  principles  iv 
the  chalk  manner  to  the  finished  landscape  colours,  a  more 
attractive  work  on  a  smaller  scale.  There  are  but  two 
pages  of  text,  from  which  the  following  statement  shows 
the  scope  of  the  book,  and  the  simplicity  of  the  methods 
he  adopted  to  achieve  success.  "  Some  of  the  subjects 
are  first  tinted  with  grey,  that  is,  neutral  tint,  producing 
the  general  effect  of  a  drawing,  except  that  blue  is  in 
the  sky  and  the  darkest  touches.  The  whole  is  then 
washed  over  with  a  warm  tint  of  red  and  yellow ;  after 
which  a  little  local  colour  only  is  necessary  on  the 
different  parts.  It  is  then  to  be  finished  with  a  few 
dark  touches,  to  mark  more  decidedly  the  features  of 
the  picture.  But  few  colours  are  necessary,  it  being 
the  balance  of  warm  and  cold  colours  which  produces 
brilliancy  ;  some  of  the  cold  tints  being  carried  into  the 
warm  masses,  and  the  warm  tints  balanced  with  cold." 

In  1805  there  had  appeared  The  Cabinet  of  Arts, 
being  a  New  and  Universal  Drawing  Book,  published  by 
T.  Ostell,  which  was  subsequently  taken  over  by 
Ackermann  and  re-issued  in  a  much  enlarged  form.  Its 
second  appearance  between  18 19  and  1821  was  in 
thirty -two  monthly  numbers,  each  published  at  3s., 
and  containing  four  engravings,  three  plain  and  one 
coloured,  and  twelve  pages  of  letterpress.  The  aqua- 
tints after  Prout  and  others  are  unattractive,  the  interest 
of  the  book  lying  chiefly  in  the  two  last  numbers,  which 
were  added  to  the  original  scheme  in  order  to  relate 
Ackermann's  experiments  with  lithography. 


2o6  HISTORY  OF  AQUATINT 

Although  they  are  outside  the  period  under  review, 
we  may  here  mention  two  treatises  by  G.  F.  Phillips 
(1780- 1 867).  The  Principles  of  Effect  and  Colour 
as  applicable  to  Landscape  Painting,  published  by 
F.  C.  Harding  in  1833,  is  illustrated  by  eight  aquatint 
plates,  of  which  six  are  coloured  and  two  plain.  Those 
that  are  uncoloured  are  strong  and  pictorial,  and  several 
of  the  coloured  ones,  some  of  which  have  more  than 
one  printed  tint,  are  highly  attractive,  besides  being 
successful  expositions  of  the  effects  produced  by  the 
relation  of  light,  dark  and  middle  tints  to  each  other, 
in  illustrating  the  operations  of  nature ;  the  text  is 
brief  but  much  to  the  point,  and  the  use  of  middle 
tint  in  uniting  masses  of  light  and  shade  is  well  set 
forth.  Another  little  book  of  the  same  artist  is  a 
Practical  Treatise  on  Drawing  and  on  Painting  in 
Water  Colours,  with  eighteen  plates,  of  which  twelve 
are  aquatints,  plain  and  coloured,  besides  a  sheet  of 
tints  used  in  the  coloured  examples.  Phillips  certainly 
had  the  power  of  simple  and  forcible  teaching ;  his 
remarks  on  colour,  as  well  as  light  and  shade,  are  of 
great  importance,  and  his  warnings  to  students  not  to 
adopt  the  conventional  palette  of  the  master  whom  they 
happen  to  prefer,  but  to  avoid  the  mannerisms  of  the 
teacher  by  a  constant  appeal  to  the  freshness  of  nature, 
are  as  deserving  of  attention  now  as  then. 

The  water-colours  that  live  in  the  memory,  and  that 
one  can  recall  at  will,  some  by  Turner,  many  by  David 
Cox,  and  by  De  Wint,  are  usually  those  that  conjure 
up  not  so  much  scenes  as  such  feelings  as  are  produced 
in  us  by  a  day  in  the  country,  the  sense  of  being  washed 


WATER-COLOUR  PAINTERS  207 

through  and  through  with  air.  They  are  not  those  that 
suggest  the  realism  of  rock,  or  field,  or  hedgerow,  but  rather 
such  as  remind  us  of  weather — storm  and  sunshine,  cloud 
shadows,  the  sparkle  of  sun  on  moving  water,  of  the 
sentiment  as  well  as  of  the  reality,  of  nature  in  all  her 
moods.  The  earlier  water-colour  artist  had  a  directness 
of  vision  which  seems  to  have  been  at  least  partially 
lost  in  later  days  ;  his  drawings  were  not  versions  of 
nature  made  through  some  preconceived  theory  of  how 
it  should  affect  him,  but  recorded  personal  impressions 
which  were  transferred  directly  to  the  paper  without 
artifice  and  often  with  unerring  execution.  Hence  a 
certain  breadth  of  style  and  singleness  of  purpose  which 
more  than  atone  for  limitation  in  other  directions,  much 
of  which  he  was  able  to  transmit  by  precept  as  well  as 
by  example. 

Another  drawing-master,  J.  Merigot  {fl.  1772- 18 16), 
has  been  referred  to  in  Chapter  VI.  as  a  former  teacher 
recollected  and  sought  out  by  the  elder  Pugin  to  help 
him  while  working  under  Nash.  Nagler  states  that 
Merigot  was  a  Parisian  landscape  painter  working  about 
1772  (at  which  period  presumably  he  acted  as  drawing- 
master  in  the  Pugin  family),  afterwards  travelling  in 
Italy  and  Switzerland,  and  finally  settling  in  England, 
where  he  executed  two  drawings,  afterwards  engraved  in 
colours  by  Guyot,  one  of  Claremont  in  Surrey,  the  other 
of  the  Garden  of  the  Dog  and  Duck.  He  also  drew 
and  engraved  twenty-five  plates  for  the  Promenade  ou 
Itin^raire  des  Ja7'dins  d' Ermenonville  (Paris,  1788), 
and  twenty  plates  for  the  Promenade  des  Jardi7is  de 
Chantilly  (Paris,   1791),  all  being  in   a   mixed   process 


2o8  HISTORY  OF  AQUATINT 

of  etching  and  aquatint.^  Nothing  further  is  known  of 
Merigot  save  that  in  1816  he  published  The  Amateur  s 
Portfolio,  or  the  New  Drawing  Magazine:  being  a 
Selection  of  Lessons  calculated  to  make  the  Art  of 
Drawing  Easy,  two  quarto  volumes  containing  in 
addition  to  other  plates,  numerous  coloured  aquatints  of 
topographical  studies,  drawings  of  animals  and  floral 
subjects,  these  last,  eleven  in  number,  being  of  great 
delicacy  and  beauty.  On  the  title-page  he  describes 
himself  as  '  drawing- master,  London,'  so  that  his 
professional  activity  extended  over  more  than  forty 
years,  a  fact  which  makes  our  scanty  knowledge  of 
him  the  more  singular.  Probably,  as  in  the  case  of  his 
patrons,  the  Pugins,  the  French  Revolution  had  much 
to  do  with  his  residence  in  England ;  it  is  certainly  a 
matter  for  congratulation  that  such  studies  from  nature 
should  have  been  published  in  London  in  18 16. 

William  Gilpin  is  dealt  with  at  some  length  in  a 
subsequent  chapter,  but  one  of  his  essays,  on  The  Art 
of  Sketching  Landscape,  should  be  included  among  the 
books  of  instruction  for  amateurs.  There  is  a  passage  in 
the  2nd  edition  which  explains  the  peculiar  character  of 
the  plates  that  illustrate  his  numerous  books,  all  of  which 
are  permeated  with  a  sickly  hue  of  yellow.  "It  adds, 
I  think,  to  the  beauty  of  a  sketch  to  stain  the  paper 
slightly  with  a  reddish,  or  yellowish  tinge ;  the  use  of 
which  is  to  give  a  more  pleasing  tint  to  the  ground  of 
the  drawing  by  taking  off  the  glare  of  the  paper.     It 

*  On  the  title-page  of  these  books  is  : — "A  Paris,  chez  Merigot  p^re, 
Libraire  Boulevard  St  Martin,  Galley,  Libraire  au  Palais  Royal  No.  13  et  14, 
Guyot,  Graveur  et  Marchand  d'Estampes,  Rue  St  Jacques  No.  2  et  a 
Ermenonville,  chez  Murray." 


WATER-COLOUR  PAINTERS  209 

adds  also,  if  it  be  not  too  strong,  a  degree  of  harmony 
to  the  rawness  of  black,  and  white.  The  strength,  or 
faintness  of  this  tinge  depends  on  the  strength,  or 
faintness  of  the  drawing.  A  slight  sketch,  should  be 
slightly  tinged.  But  if  the  drawing  be  slightly  finished, 
and  the  shadows  strong ;  the  tinge  also  may  be  stronger. 
Where  the  shadows  are  very  dark,  and  the  lights  catch- 
ing, a  deep  tinge  may  sometimes  make  it  a  good  sun-set." 
The  books  that  David  Cox  (1783- 1859)  contributed 
to  the  section  of  drawing-books  are  naturally  of  great 
interest.  Falser,  a  printseller  in  the  Westminster  Bridge 
Road  with  an  eye  for  budding  talent,  employed  Cox  as 
well  as  Prout  to  make  studies  for  provincial  drawing- 
masters  to  use  as  copies  for  their  pupils.  These  were 
paid  for  at  a  few  shillings  apiece,  but  they  attracted  the 
notice  of  the  Hon.  H.  Windsor,  afterwards  Earl  of 
Plymouth,  who  took  lessons  from  Cox  and  subsequently 
started  him  on  his  long  career  of  teaching.  A  Treatise 
on  Landscape  Painting  and  Effect  in  Water  Colours, 
from  the  first  rudiments  to  the  finished  picture,  with 
examples  in  outline,  effect  and  colouring  is  the  title  of  his 
first  drawing  -  book,  published  in  1804,  t>y  S.  &  F. 
Fuller,  and  issued,  as  he  says,  through  "  the  urgent  and 
repeated  solicitations  of  many  of  his  pupils."  Cox  was 
only  thirty  years  of  age,  but  the  preliminary  matter,  brief 
as  it  is,  shows  that  he  had  already  systematized  his  own 
ideas  while  working  out  model  sketches  for  beginners. 
"  The  best  and  surest  method  of  obtaining  instruction 
from  the  work  of  others,"  he  writes,  "  is  not  so  much  by 
copying  them,  as  by  drawing  the  same  subjects  from 
nature  immediately  after  a  critical  examination  of  them 


2IO  HISTORY  OF  AQUATINT 

while  they  are  fresh  in  the  memory.  Thus  they  are 
seen  through  the  same  medium,  and  imitated  upon  the 
same  principles,  without  preventing  the  introduction  of 
sufficient  alterations  to  give  originality  of  manner,  or 
incurring  the  risk  of  being  degraded  into  a  mere 
imitation."  The  book  has  twenty  -  four  soft  ground 
etchings,  sixteen  uncoloured  aquatints,  and  sixteen 
coloured,  some  of  the  latter  being  so  fine  in  ground 
and  so  carefully  coloured  that  they  could  well  be 
mistaken  for  original  drawmgs,  especially  those  called 
^^ Morning''  and  ''Afternoon."  The  scenes  chosen  are  of 
great  variety  and  typical  of  the  subjects  associated  with 
Cox.  Mr  Frank  Short  possesses  two  of  the  plates, 
coloured  by  the  artist  as  a  guide  to  the  hand  colourist. 
The  book  went  through  many  editions,  the  last  being 
issued  in  1841,  with  only  the  sixteen  coloured  plates. 
Comparison  will  show  that  the  colouring  of  the  plates  in 
this  last  edition  is  very  different  from  that  of  the  earlier 
issues.  On  the  whole  the  changes  are  not  for  the  better, 
nor  are  some  of  the  impressions  improved  by  being 
varnished  in  the  shadows. 

The  Treatise  was  followed  in  1 8 1 6  by  a  smaller  and 
more  elementary  book,  published  by  T.  Clay,  A  Series 
of  Progressive  Lessons  in  Water  Colours,  which  likewise 
went  through  many  editions,  the  last  appearing  in  1845. 
In  the  text  the  author  gives  examples  of  tints  to  eluci- 
date his  directions,  a  plan  also  adopted  by  Hassell, 
probably  in  imitation  of  Bryant  The  1845  edition  is 
much  larger  in  size,  with  an  entirely  different  set  of 
plates,  more  highly  finished  but  less  attractive  than  those 
in  the  earlier  editions. 


The  Windmill. 

From  The  Young  Artist's  Companion  (1825)  by  David  Cox. 


WATER-COLOUR  PAINTERS  211 

A  third  book  by  Cox  is  The  Young  Artist's  Com- 
panion^ published  in  1825  by  S.  &  F.  Fuller.  In  this 
the  text  is  the  same  as  that  of  the  Treatise  on  Land- 
scape Painting,  the  first  40  plates  being  in  soft  ground 
etching.  Then  follow  24  aquatints,  12  uncoloured  and 
12  coloured,  the  latter  perhaps  the  most  elaborately 
finished  of  all  the  plates  in  Cox's  books  ;  they  are  painted 
in  strong  effective  colours,  with  now  and  then  a  touch  of 
varnish  in  the  shadows  which  adds  to  the  illusion  of  a 
water-colour  drawing. 

John  Hassell  was  a  landscape  draughtsman  and 
engraver  in  aquatint ;  the  date  of  his  birth  is  unknown, 
but  he  was  exhibiting  at  the  Royal  Academy  in  1789 
and  died  in  1825.  He  wrote  three  drawing-books,  the 
first,  Speculum^  or  Art  of  Drawing  in  Water-Colours 
with  Instructions  for  sketching  from  nature,  comprising 
the  whole  process  of  a  coloured  drawing,  familiarly  exem- 
plified in  drawing,  shadowing  and  tinting  a  complete 
landscape  in  all  its  progressive  stages,  with  directions  for 
compounding  and  using  colours,  sepia,  Indian  ink,  bistre, 
etc.,  was  published  in  1808.  On  the  front  page  is  the 
advertisement  which  shows  us  that  he  was  also  a 
drawing-master :  "  Drawing  taught  and  Schools  at- 
tended by  the  author.  Letters  addressed  to  J.  Hassell, 
No  5,  Newgate  St.,  will  be  duly  attended  to."  The 
book  is  insignificant  enough,  but  it  reached  three  editions , 
and  was  followed  in  181 1  by  Calco^raphia,  or  the  Art  of 
multiplying  drawings  after  the  manner  of  chalk,  black  lead 
pencil,  and  pen  and  ink,  illustrated  by  soft  ground  etch- 
ings. This  in  its  turn  was  succeeded  by  his  really  fine 
Aqua  pictura,  issued  in  parts  in  18 13.     The  full  title  is 


212  HISTORY  OF  AQUATINT 

Aqua  pictura,  illustrated  by  a  series  of  original  specimens 
from  the  works  of  Payne,  Man^i,  Francia,  Samuel, 
Varley,  Wheat  ley,  Young,  Chris  tal,  Cartwright,  Girtin, 
Clennell,  Cox,  Prout,  Hills,  De  Wint,  Owen,  Glover, 
Turner,  Loutherbourg,  etc.,  etc.,  exhibiting  the  works  of 
the  most  approved  modern  water  colour  draughtsmen,  with 
their  style  and  method  of  touch,  engraved  and  finished  in 
progressive  examples.  In  the  Preface  the  author  states 
that  *'  The  Proprietors  of  the  present  work  propose  to 
give,  in  progressive  Series,  a  drawing  of  one  of  the  most 
celebrated  water-colour  draughtsmen  of  the  present  age 
and  to  publish  that  specimen  in  four  stages  on  the  first 
day  of  every  month.  This  mode,  it  is  presumed,  will  be 
found  highly  useful  to  those  who  profess  to  teach  draw- 
ing, from  the  easy  method  in  which  progressive  lessons 
can  be  communicated,  and,  to  facilitate  the  copying  of 
the  drawings,  the  Conductor  of  this  publication  will 
explain  the  colours  presumed  to  be  used  by  the  draughts- 
men, with  a  practical  specimen  of  every  tint  that  appears 
in  each  drawing."  There  are  four  plates,  showing  the 
different  stages  of  each  drawing,  from  the  outline 
sketch  to  the  finished  painting,  the  last  being  a  highly 
coloured  aquatint  engraving.  His  third  book  on  the 
subject  was  The  Camera,  or  Art  of  Drawing  in  Water 
Colours  (1823). 

Last  on  the  list  within  our  period  comes  T.  H.  A. 
Fielding's  Index  of  Colours  and  Mixed  Tints,  for  the  use 
of  beginners  in  Figure  and  Landscape  Painting,  described 
in  the  preface  as  "  a  copious  set  of  tints  arranged  in  the 
manner  of  an  index,  to  which  the  student  can  refer  for 
the  mixture  of  a  tint  as  he  would  to  his  Dictionary  for 


WATER-COLOUR  PAINTERS  213 

words  with  which  he  is  yet  unacquainted."  Further  on, 
Fielding  alludes  to  "  the  extraordinary  care  and  labour  re- 
quired in  getting  the  tints  exactly  coloured  and  in  a  manner 
which  might  ensure  their  permanency."  The  book  has  no 
artistic  merit,  consisting  mostly  of  twenty-four  squares 
of  colour  arranged  in  groups  of  eight,  on  each  of  seven- 
teen plates,  with  the  names  of  the  colours  that  go  to  the 
composition  of  the  different  mixed  tints  underneath  each 
group  ;  a  preliminary  key-plate  has  twenty-eight  squares 
of  plain  colours.  There  are  thus  four  hundred  and  thirty- 
six  separate  applications  of  colour  by  hand  to  each  copy 
of  the  book,  so  that  even  in  a  small  edition  the  labour 
involved  must  have  been  enormous.  In  this  case,  as  in 
that  of  many  works  of  the  period,  it  would  indeed  be 
interesting  to  know  the  size  of  the  editions  on  which  so 
much  careful  labour  was  expended. 

Among  these  drawing-books  a  volume  on  Flower 
Painting  is  of  importance  as  being  one  of  the  very  few 
books  in  which  aquatint  was  used  for  the  illustration 
of  botanical  subjects.  It  is  entitled  Rudiments  of 
Drawings  Shadowing  and  Colouring  Flowers  in  Water 
Colours,  contained  in  36  Instructive  Lessons  illustrated 
by  29  Plates,  from  the  outline  of  a  single  leaf  pro- 
gressively to  the  completion  of  a  full  groups  and  was 
published  "  by  the  proprietor,"  G.  Testolini,  ^i  Cornhill, 
in  1818.  In  addition  to  the  flower  plates  there  is  a 
frontispiece  in  stipple  and  a  plate  of  tints  in  small 
squares,  after  the  plan  adopted  by  Hassell  and  others. 
Both  the  drawing  and  the  colouring  of  the  flowers  are 
beautiful :  some  of  the  tints  are  put  on  by  hand,  but  in 
several  plates  there  is  more  than  one  printing.      Any- 


214  HISTORY  OF  AQUATINT 

one  interested  in  the  application  of  different  techniques 
to  ilhistrations  of  the  same  subject  should  compare  this 
book  with  Practical  Directions  for  learning  Flower 
Drawing,  by  Patrick  Syme,  Flower  Painter,  Edinburgh, 
published  in  1810,  which  has  eighteen  plates,  including 
six  in  outline,  six  finished  drawings  in  colour,  and  six 
representing  the  flowers  in  different  stages  of  colouring. 
All  these  plates  are  in  stipple,  nor  would  it  be  possible 
to  find  a  more  perfect  application  of  this  particular  mode 
of  engraving.  The  two  plates  of  the  harebell  are  a 
marvel  of  delicacy,  and  only  a  strong  glass  reveals  the 
fact  that  the  outline  of  this  slender  flower  is  rendered  in 
tiny  dots  and  not  in  continuous  line. 


CHAPTER  IX 


FOREIGN    TRAVEL 


Of  the  total  number  of  books  in  the  Hst  nearly  300  are 
concerned  with  travel  and  topography,  while  about  30 
relate  to  military  and  naval  adventure.  Only  a  few  of 
these  can  be  spoken  of  in  detail,  but  it  may  be  interest- 
ing to  say  something  of  the  circumstances  that  called 
forth  the  more  important.  Around  the  Waterloo  Cam- 
paign a  great  deal  of  the  most  lively  and  vigorous  illus- 
tration naturally  centres,  St  Helena  coming  in  as  a 
frequent  theme  both  for  pen  and  pencil. 

The  love  of  travel  had  recently  acquired  fresh 
characteristics  from  its  association  with  the  new  interest 
in  the  picturesque,  whether  in  scenery,  dress,  or  customs, 
as  well  as  with  geographical  and  scientific  exploration. 
It  is  safe  to  say  that  but  few  people  went  anywhere 
without  either  making  sketches  themselves  or  taking 
with  them  some  artist  to  depict  what  they  saw.  If  their 
own  achievements  were  not  up  to  the  necessary  standard 
they  were  handed  over  to  one  of  the  professional  artists, 
who  made  a  practice  of  redrawing  the  work  of  amateurs 
for  the  engraver.  Thus  nearly  all  books  of  travel  were 
illustrated,  and  it  will  be  obvious  from  a  glance  at  this 
section  that,  not  only  every  part  of  Great  Britain,  but  of 
the  Continent  and  the  Far  East  as  well,  yielded  material 


ais 


2i6  HISTORY  OF  AQUATINT 

alike  to  the  author  and  artist.  After  the  fashion  set 
by  Ackermann  many  of  these  books  were  brought  out 
regardless  of  expense.  Publisher,  artist,  and  engraver 
united  in  the  common  aim  of  giving  to  the  public  a 
series  of  views  that  should  satisfy  both  those  who  had 
travelled  and  those  who  wanted  to,  and  the  result  was  a 
series  of  splendid  books  that  appeared  in  the  first  quarter 
of  the  nineteenth  century. 

As  on  the  relations  of  France  and  England  depended 
not  only  the  literature  of  the  war,  but  a  large  part  of  that 
of  foreign  travel,  it  may  be  well  to  give  a  brief  account 
of  those  relations  and  the  principal  books  produced 
thereby  before  proceeding  to  the  wider  fields  of  Africa 
and  the  East. 

The  close  intercourse  between  French  and  English 
society  began  with  the  Restoration,  and,  paramount  even 
before  the  residence  of  Voltaire  in  England  and  the 
Anglophile  tendencies  of  the  Cyclop6distes,  had  been 
abruptly  disturbed  by  the  outbreak  of  the  Revolution, 
which,  by  putting  their  theories  into  violent  practice, 
produced  an  immediate  change  in  the  relation  of  French 
and  English  political  parties.  Whereas  it  had  been  the 
French  liberals  who  had  for  nearly  a  century  preached 
the  virtues  of  English  institutions  and  been  honoured 
guests  in  English  houses,  it  was  now  almost  exclusively 
the  royalists,  the  representatives  of  that  ancien  regime 
which  the  Anglophile  liberals  had  been  slowly  under- 
mining, who  were  received  in  England,  who  mixed  in 
society,  and  by  so  doing  identified  England  with  the 
cause  of  the  Bourbons ;  not  the  Court  only,  but  all  who 
could  afford  it,  wore  mourning  for  the  execution  of  Louis 


FOREIGN  TRAVEL  217 

XVI,  and  "War  with  France  ! "  was  shouted  by  the  mob 
in  the  streets  of  London.     The  advent  of  Napoleon  to 
power  made  no  difference  to  the  popular  view,  beyond 
furnishing  it  with  a  single  object  on  which  to  concentrate 
its  hate;   to  most  Englishmen  he  remained  throughout 
the    incarnation   of  the   revolutionary    spirit,    with    the 
savoury  addition  of  every  private  vice,  and  ministers  as 
well  as  pamphleteers  took  up  the  cry.     In  his  address  to 
the  throne  on  the  28th  January  1800,  Grenville  declared 
that  Bonaparte  "had  multiplied  violations  of  all  moral 
and  religious  duties ;   he  had  repeated  acts  of  perfidy ; 
his  hypocrisies  were  innumerable " ;   and   some  months 
later,  during  the  negotiations  for  the  Peace  of  Amiens, 
Windham  "warned  the  House  against  listening  to  the 
counsels  of  those  who  wanted  to  make  a  peace  of  pure 
love  with  a  jacobin  republic,  and  prayed  God  to  avert 
such  a  peace  from   the  country."     But  the  peace  was 
concluded,  and  with  the  peace  came  a  renewal  of  social 
intercourse.     Paris  became  more  than  ever  a  centre  of 
interest  to  the  English  tourist,  undeterred  by  that  "like- 
ness of  a  kingly  crown "  which,  as  Canning  said,   was 
already  hovering  about  the  temples  of  the  First  Consul. 
The  first  man  to  rush  to  the  Continent  and  record  his 
impressions  was  Sir  John  Carr,  a  lawyer  given  to  book- 
making    of   a    pleasant   if    unsubstantial    order,    whose 
Stranger  in   France,    or   a    Tour  from   Devonshire   to 
Paris,  was  the  first  of  a  series  of  successful  books  which 
brought  on  him  the  ridicule  of  Byron  and  Dubois'  skit  of 
My  Pocket  Book,  or  .  .  .  the  Stranger  in  Ireland.     Carr, 
desirous   "  to  bridge  over  the  separation  of  ten  years, 
during  which  we  have  received  very  little  account  of 


2i8  HISTORY  OF  AQUATINT 

this  extraordinary  people,"  went  to  Havre  in  "a  costly 
instrument  of  destruction,"  alias  a  fire-ship,  and  recorded 
what  he  saw  in  and  on  the  way  to  Paris,  details  of  inns, 
coaches,  private  life,  interviews  with  famous  men  such  as 
David  and  Bonaparte,  in  a  spirit  of  candour  remarkable 
in  an  Englishman  of  the  time.  He  prophesies  the 
approaching  Empire  :  "  If  Bonaparte  is  spared  from  the 
stroke  of  the  assassin,  or  the  praetorian  caprice  of  the 
army,"  and  if  his  ambition  will  permit  him  to  discharge 
this  great  undertaking  "of  rebuilding  the  social  edifice 
of  France,"  the  people  "will  confer  those  sanctions  upon 
his  well-merited  distinction,  without  which  all  authority 
is  but  disastrous  usurpation."  A  second  prediction  is 
less  happy.  "  Yes,  Bonaparte !  millions  of  suffering 
beings,  raising  themselves  from  the  dust,  in  which  a 
barbarous  revolution  has  prostrated  them,  look  up  to 
thee  for  liberty,  protection,  and  repose.  They  will  not 
look  to  thee  in  vain."  ^ 

In  the  same  year  appeared  Girtin's  Selection  of 
Twenty  Views  in  Paris,  already  described,  a  work  of 
artistic  not  of  literary  interest,  and  less  significant  than 
Carr's  books  of  the  change  that  had  come  over  the  spirit 
of  English  travel.  Earlier  generations  had  looked  on  a 
visit  to  France  as  part  of  the  education  of  a  gentleman, 
but  as  we  see  from  the  letters  of  Gray  and  Walpole,  they 
felt  little  interest  in  anything  but  the  court  and  courtly 
society.  Chesterfield,  indeed,  with  his  keen  political 
foresight,  prophesied  from  the  misery  of  the  poor,  especi- 

1  Sir  J.  Carr,  like  others  of  his  generation,  contrived  to  make  literature 
very  profitable  :  for  the  Stranger  in  France  he  received  ;^ioo ;  for  A 
Northern  Summer,  ^800 ;  for  the  Stranger  in  Ireland,  £700 ;  and  for  the 
Tour  through  Holland,  £(X)0. 


FOREIGN  TRAVEL  219 

ally  in  the  provinces,  the  outbreak  of  a  revolution,  but 
his  was  a  solitary  voice,  and  not  until  Young's  Travels 
in  France  in  lySy,  1788,  and  178^,  published  in  1792, 
translated  into  French  in  1793,  and  reaching  a  second 
edition  in  both  languages  in  1794,  do  we  find  a  real 
interest  in  social  conditions,  and  Carr,  trifler  as  he  was, 
played  a  part  in  spreading  the  influence  of  the  new 
idea.  Henceforward,  along  with  a  political  hatred  that 
found  its  expression  in  caricatures  of  incredible  ferocity, 
along  with  a  credulity  that  could  swallow  the  grossest 
lies,  we  find  a  genuine  interest  in  foreign  life  and 
thought  which  contained  the  germs  of  sociological  study 
and  international  goodwill. 

The  advance  in  artistic  processes  also  contributed  to 
this  end  by  creating  a  new  class  of  literature.  Just  as 
aquatint  and  coloured  engraving  had  stimulated  public 
interest  in  English  scenery  and  English  architecture,  so 
its  influence  was  now  extended,  and  from  France  to  the 
Straits  Settlements  life  and  scenery,  a  country  and  its 
inhabitants,  became  familiar  to  all  who  cared  to  read. 
As  the  new  process  had  created  new  ideas,  so  it  reacted 
on  them,  and  not  all  the  brutality  of  Gillray  towards 
things  not  English  can  conceal  the  fact  that  books  of 
travel  were  widening  the  minds  of  English  men  and 
women,  and  plates  of  costume  and  fashion  stimulating 
their  interest  in  the  outer  world.  One  explanation  of  this 
phenomenon  was  given  by  a  shrewd  observer  when  the 
Napoleonic  storm  was  overpast.  While  Blake  and 
Haydon  were  raising  their  solitary  protest  against  the 
domination  of  portrait  art  in  England,  landscape,  in 
books  and  pictures,   was  coining  to   its  own,   and    the 

o 


^ 


220  HISTORY  OF  AQUATINT 

writer  in  question,  W.  H.  Pyne,  thus  explains  this 
seeming  inconsistency :  "  We  have  long  observed  that 
the  English  have  a  predilection  for  portrait,  topography 
is  a  species  of  portraiture."  ^ 

Book  production  was,  of  course,  largely  affected  by 
political  events.  The  life  and  death  of  popular  heroes 
led  to  popular  biographies.  Orme's  Graphic  History  of 
the  Life,  Exploits,  and  Death  of  Nelson  (1806),  with  its 
memoir  by  Blagdon  and  its  sixteen  plates,  four  of  them 
coloured,  is  a  type  of  these  books,  and  Blagdon  himself 
(1778- 1 8 19),  as  a  type  of  the  journalist-author  of  the 
period,  deserves  some  attention.  Originally  a  newspaper 
boy,  he  became  secretary  to  Dr  A.  F.  M.  Willich,  who 
taught  him  French  and  German,  to  which  he  added 
Spanish  and  Italian.  On  the  title-page  of  his  books  he 
describes  himself  as  Professor  of  the  French,  Italian, 
Spanish,  and  German  languages.  In  1802,  he  began  to 
edit  a  series  of  travels  under  the  title  of  Modern  Dis- 
coveries ;  or,  a  Collection  of  Facts  and  Observations  .  .  . 
of  Celebrated  Modern  Travellers  in  every  Quarter  of  the 
Globe,  which  appeared  during  the  next  six  years  and 
comprised  a  translation  from  the  French  of  Denon's 
Travels  in  Egypt  in  the  train  of  Napoleon  Bonaparte, 
and  Golberry's  Travels  in  Africa ;  and  from  the  German 
of  Pallas' s  Travels  in  the  Southern  Provinces  of  the 
Russian  Empire.  This  last  was  issued  in  two  forms  in 
the  years  1802-3,  as  Modern  Discoveries,  in  four  volumes 
i6mo,  with  small  reproductions  of  the  original  plates  in 
line,  and  in  a  handsome  quarto  edition  reproduced  from 
the  original  German  edition  of  1 799-1 801,  with  the  fifty- 

^  Somerset  House  Gazette,  i.  p.  331. 


FOREIGN  TRAVEL  221 

two  original  plates,  coloured  and  uncoloured,  and  the 
twenty-eight  original  vignettes  of  surprising  attractive- 
ness and  beauty  by  C.  H.  G.  Geissler.  For  illustrations 
and  text  alike,  this  is  a  very  interesting  and  important 
book.  The  plates  are  of  all  kinds,  some  in  stipple  only, 
others  with  aquatint,  line  and  stipple,  all  delicately 
coloured  and  of  the  specially  attractive  character  of 
Geissler's  work.  Christian  Gottfried  Heinrich  Geissler, 
draughtsman  and  engraver,  was  born  at  Leipzig  in  1770 
and  accompanied  Pallas  in  his  journeys  through  the 
Russias.  Nagler  enumerates  nine  volumes  illustrated 
by  him,  six  dealing  with  Russian  life  and  three  with 
the  practice  of  engraving  and  tinting  in  colours.  He 
accompanied  Pallas  on  his  tour  as  artist,  and  all  his 
work,  with  the  exception  of  three  treatises  on  the 
technical  part  of  his  art,  is  confined  to  various  books 
on  Russia.  A  second  edition  of  this  quarto  issue,  which 
was  called  for  in  181 2 — doubtless  owing  to  Napoleon's 
Russian  campaigns — has  nearly  sixty  additional  plates, 
making  in  all  one  hundred  and  twenty-one,  coloured  and 
uncoloured,  many  of  them  signed  by  Medland. 

Other  works  by  Blagdon  illustrated  in  aquatint  are, 
A  Brief  History  of  Ancient  and  Modern  India,  re- 
issued in  181 3  as  an  appendix  to  Captain  Thos. 
Williamson's  European  in  India;  the  Authentic  Me- 
moirs of  George  Morland  ( 1 808) ;  and  An  Historical 
Memento  representing  the  scenes  of  public  rejoicing  which 
took  place  the  first  of  August  in  celebration  of  the 
glorious  Peace  of  1814,  etc.  Blagdon's  other  activities 
do  not  concern  us.  He  was  associated  with  the 
Morning  Post,  and  the  rest  of  his  work  is  connected 


222  HISTORY  OF  AQUATINT     • 

with  politics  and  polemics  of  various  kinds.  Though 
a  good  writer,  he  was  too  apt  to  indulge  in  the  stilted 
and  pompous  language  so  typical  of  the  period,  and,  on 
the  whole,  posterity  is  probably  not  unjust  in  preferring 
the  plates  in  his  historical  books  to  the  matter  that 
accompanies  them.  In  biography  his  achievement  was 
higher ;  much  of  his  memoir  of  Nelson  is  vigorous 
and  attractive,  and  the  illustrations,  notably  the  fine 
stipple  portrait  of  Nelson  by  J.  Godby,  who  also  worked 
on  three  of  the  four  aquatint  plates,  and  those  of  the 
battles  of  the  Nile,  St  Vincent,  Copenhagen,  and 
Trafalgar,  are  of  great  interest.  Even  better  are  his 
Memoirs  of  George  Morland,  an  admirable  volume  full 
of  just  yet  not  excessive  appreciation,  and  now  ex- 
tremely scarce,  owing  to  its  being  frequently  broken  up 
for  the  value  of  its  plates.  Of  these  only  one  is  in 
aquatint,  the  rest  are  in  soft  ground  etching,  mezzotint 
and  stipple,  the  colour-printed  mezzotints,  rarely  found 
associated  with  aquatint  in  illustration,  being  specially 
sought  for. 

To  return  to  the  literature  of  the  Napoleonic  era, 
the  war  itself  naturally  produced  the  largest  crop  of 
books.  If  a  country  was  invaded,  the  public  straightway 
desired  an  account  of  it,  whether  in  the  form  of  a  book 
of  travel  or  a  narrative  written  from  a  military  or  naval 
point  of  view.  Thus  we  have  already  seen  Blagdon 
translating  a  book  on  Egypt,  nor  did  that  country 
escape  the  attention  of  the  Rev.  Cooper  Willyams 
( 1 762-1816),  topographer,  artist,  and  clergyman,  who, 
while  holding  livings  in  Kent  and  Cambridgeshire,  went 
from   hereditary  love    of  the  sea  as  naval  chaplain  on 


FOREIGN  TRAVEL  223 

the  Boyne  in  the  expedition  to  the  West  Indies  headed 
by  Grey  and  Jervis.  In  1796  he  published  An  Account 
of  the  Campaign  in  the  West  Indies  in  1794;  served  as 
chaplain  to  Lord  St  Vincent,  then  on  board  the  Swift- 
sure,  and  was  present  on  that  vessel  at  the  battle  of 
the  Nile,  of  which  his  Voyage  up  the  Mediterranean 
in  the  Swiftsure  (1802)  gives  the  earliest  and  most 
authentic  account.  He  returned  to  England  in  1800, 
received  further  ecclesiastical  preferment,  and  died  in 
London  on  July  17,  18 16.  A  Selection  of  Views 
appeared  after  his  death. 

Mayer's  Views  in  Egypt,  1801  and  1804,  is  purely 
topographical.  A  more  literary  work  on  the  same 
subject  is  Walsh's  Journal  of  the  late  Campaign  in 
Egypt  (1803),  with  forty-one  plates,  including  six 
coloured  aquatints  by  S.  I.  Neele,  which  is  distinguished 
by  that  wide  interest  in  topography,  antiquities  and 
social  conditions,  as  well  as  purely  military  topics, 
characteristic  of  so  many  officers  of  the  time.  The 
same  applies  to  an  important  volume  on  the  Peninsular 
War,  Historical^  Military,  and  Picturesque  Observations 
on  Portugal  (18 18),  by  George  Thomas  Landmann,  a 
colonel  in  the  Royal  Engineers.  Other  books  on  the 
same  subject  were  Major  St  Clair's  Views  of  the 
Principal  Occurrences  of  the  Campaigns  in  Spain  and 
Portugal  (181 2),  and  Jacob's  Travels  in  the  South  of 
Spain  (181 1). 

Books  on  Wellington  and  Waterloo  are  a  literature 
in  themselves,  and  a  few  only  can  be  mentioned  here. 
Mudford's  Historical  Account  of  the  Campaigns  in  the 
Netherlands   (1817),   with    eight   aquatint   plates,    some 


224  HISTORY  OF  AQUATINT 

of  them  after  G.  Cruikshank ;  the  Victories  of  the 
Duke  of  Wellington  (1819),  with  twelve  plates  after  R. 
Westall,  and  Combe's  Wars  of  Wellington  of  the  same 
year  should  all  be  noticed.  Of  more  general  books 
may  be  mentioned  Nicholson's  History  of  the  Wars 
occasioned  by  the  French  Revolution  (18 17),  an  accurate 
and  on  the  whole  impartial  compilation,  illustrated  with 
gaudy  equestrian  portraits ;  Historic,  Military^  and 
Naval  Anecdotes  of  personal  valour,  etc.,  which  occurred 
to  the  armies  of  Great  Britain  and  her  allies  in  the  last 
long  contested  war,  terminating  with  the  Battle  of 
Waterloo,  a  handsome  volume  containing  forty  coloured 
aquatints,  chiefly  by  Dubourg  after  Atkinson,  Mans- 
kirsch,  Clark,  and  others ;  and  above  all  the  Martial 
Achievements  of  Great  Britain  and  her  Allies  (181 5), 
and  the  companion  volume,  the  Naval  Achievements  of 
Great  Britain  (181 7),  the  one  containing  fifty,  the  other 
fifty-four  coloured  aquatints,  eighty-three  of  which  are 
engraved  by  T.  Sutherland  after  Heath  and  Whitcomb. 
The  two  last  books  are  worthy  of  their  theme ;  nor  could 
one  desire  a  finer  record  of  heroic  deeds. 

Patriotism  found  another  outlet  in  the  formation  of 
Volunteer  corps  and  bodies  of  militia  all  over  the 
country,  which  led  to  the  publication  of  such  books 
as  Rowlandson's  Loyal  Volunteers  (1799)  and  The 
British  Volunteer  of  the  same  year ;  these  camps,  as 
well  as  the  foreign  campaigns,  may  explain  some  part 
of  the  singular  demand  for  books  of  naval  and  military, 
as  well  as  national,  costume,  so  characteristic  of  the 
beginning  of  the  nineteenth  century.  Of  the  social 
consequences  of  the  establishment  of  bodies  of  militia 


FOREIGN  TRAVEL  225 

in  country  towns,  and  the  great  camps  at  Brighton  and 
elsewhere,  every  reader  of  Miss  Austen  knows  some- 
thing from  the  history  of  Lydia  Bennet  and  the 
fascinating  Wickham,  while  even  the  severe  spinster 
Miss  Grizzel  Oldbuck  was  moved  to  remonstrance  by 
Monkbarns'  scorn  of  his  patriotic  neighbours.  "  Dear 
brother,  dinna  speak  that  gate  o'  the  gentlemen  volun- 
teers— I  am  sure  they  have  a  most  becoming  uniform."  * 

Rowlandson's  preface  to  the  Hungarian  and  High- 
land Broadsword  Exercise  (1799)  gives  an  idea  of  popular 
feeling  at  the  time.  "  At  a  period  when  the  spirit  of  the 
Nation  is  so  eminently  manifested,  and  when  all  that  is 
loyal  and  honourable  in  this  Empire  is  ranged  in  Arms 
to  support  its  Government  and  Constitution,  I  may 
safely  indulge  the  hope  that  my  Countrymen  will  readily 
acknowledge  the  utility  of  the  Work  which  I  herewith 
offer  them."  But  his  patriotic  fervour  does  not  approach 
that  of  Ackermann,  in  his  preface  to  the  Loyal  Volun- 
teers. Both  this  and  the  preceding  book  are  illustrated 
by  Rowlandson,  and  the  1 1 1  plates  in  the  two  volumes 
are  valuable  as  a  record  of  the  military  life  and  costume 
of  the  time. 

English  interest  in  Russia  was  of  earlier  growth  than 
the  campaigns  of  Moscow.  Blagdon's  translation  of 
Pallas's  Travels  had  appeared  in  two  forms  in  1802-3, 
and  in  1809  appeared  an  important  book  by  Sir  Robert 
Ker  Porter  ( 1777- t 842),  a  painter  and  traveller,  whose 
early  ambition,  first  aroused  by  the  sight  of  a  battle-piece 
in  the  possession  of  Flora  Macdonald,  to  become  a 
painter  of  battles,  caused  him  to  seek  an  introduction  to 

'  The  Antiquary y  chap.  vi. 


226  HISTORY  OF  AQUATINT 

Benjamin  West,  who  procured  his  admission  as  an 
historical  student  at  Somerset  House.  There  his  pro- 
gress was  rapid,  and  besides  executing  various  reHgious 
works,  he  had  by  1800  obtained  the  position  of  scene- 
painter  at  the  Lyceum,  and  belonged  also  to  a  society 
for  the  cultivation  of  historic  landscape  which  included 
Girtin  and  Cotman  among  its  members.  His  sensational 
picture  of  the  Storming  of  Seringapatam,  a  panorama 
120  feet  long,  containing  700  life-size  figures,  is  stated 
by  his  sister  the  novelist,  Jane  Porter,  then  living  with 
him,  to  have  been  painted  in  six  weeks,  though  others 
say  that  it  took  ten.  It  was  afterwards  destroyed  by 
fire,  but  some  notion  of  its  merits  can  be  gained  from 
existing  sketches  and  the  engravings  of  it  by  Vendramini. 
This  was  followed  by  similar  topical  battle-pieces,  besides 
which  he  exhibited  no  less  than  thirty-eight  pictures  at 
the  Royal  Academy,  historical  pieces,  landscapes  and 
portraits,  and  one  at  the  British  Institution,  between  the 
years  1792  and  1832.  In  1803  he  was  appointed  a 
captain  in  the  Westminster  Militia,  but  his  family  dis- 
suaded him  from  entering  upon  the  career  of  a  soldier, 
and  his  eager  spirit  seized  on  the  wider  field  of  travel 
and  sightseeing  offered  him  by  his  appointment  as 
historical  painter  to  the  Czar.  His  life  in  St  Petersburg 
was  varied  by  a  love  affair  with  a  Russian  princess, 
which  ended  in  his  leaving  Russia  and  travelling  in 
Finland  and  Sweden,  where  he  was  knighted  by 
Gustavus  IV.  in  1806.  A  meeting  with  Sir  John 
Moore  ended  in  an  invitation  to  accompany  him  to 
Spain,  where  Porter  was  present  at  the  battle  of  Corufia, 
and  made  many  sketches  of  the  campaign.     This  sketch- 


FOREIGN  TRAVEL  227 

book  is  now  in  the  British  Museum.  At  the  same  time 
he  collected  material  for  his  Letters  from  Portugal  and 
Spain,  which,  like  his  Travelling  Sketches  in  Russia  and 
Sweden,  appeared  in  1 809.  The  book  contains  forty-one 
aquatints,  plain  and  coloured,  after  Porter's  own  draw- 
ings, and  is  remarkable  for  the  three  names  on  every 
plate — R.  K.  Porter  delt,  P.  A.  Hubert  direxit^J.  C. 
Stadler  sculpt.  In  181 1  he  returned  to  Russia,  married 
his  princess  in  the  following  year,  and  on  his  return  to 
England  was  knighted  by  the  Prince  Regent.  On  his 
return  to  Russia,  in  18 17,  he  started  on  a  journey 
through  the  Caucasus  to  Teheran,  Ispahan,  Persepolis, 
Ecbatana,  and  Bagdad,  and,  following  the  course  of 
Xenophon's  Katabasis,  returned  to  Scutari,  The  results 
of  this  journey  appeared  in  his  Travels  in  Georgia, 
Persia,  Armenia,  Ancient  Babylonia  (1817-20),  a  very 
large  book  of  high  interest  and  value,  again  illustrated 
by  himself,  and  marking,  both  in  text  and  plates,  a  great 
advance  on  his  previous  work.  In  this  book,  as  in 
the  others.  Porter's  drawing  of  figures  is  distinctly  better 
than  his  rendering  of  landscape.  On  his  return  to 
England  he  accepted  the  post  of  British  Consul  in 
Venezuela,  which  he  held  for  fifteen  years,  painting 
large  sacred  pictures  and  exercising  great  hospitality. 
In  1 84 1,  he  returned  to  England  for  a  brief  visit,  went 
to  Russia  to  visit  his  only  daughter,  who  had  married 
a  Russian  officer,  and  died  in  St  Petersburg  on  May  4th, 
1842. 

Other  important  books  on  Russia  were  a  Historical 
Sketch  of  Moscow  (18 13),  Johnston's  Travels  through 
part  of  the  Russian  Empire  (181 5),  M  or  nay's  Picture 


228  HISTORY  OF  AQUATINT 

of  St  Petersburg  (1805),  and  Lyall's  Character  of  the 
Russians  (1823),  all  illustrated  with  aquatints  of  varying 
degrees  of  merit. 

Art,  even  apart  from  books,  played  a  great  part  in 
the  struggle.  No  great  war  ever  involved  so  many 
interesting  personalities,^  none  ever  aroused  so  great  a 
sense  of  personal  interest ;  and  where  the  personal 
element  enters,  literature  and  art,  in  some  form  or 
other,  are  bound  to  follow.  It  was  in  vain  for  Fox 
to  protest  against  "all  this  sort  of  invective,  which  is 
used  only  to  inflame  the  passions  of  this  house  and 
the  country " ;  pamphlet  and  cartoon,  in  which  truth 
was  strictly  subordinated  to  effect,  followed  each  other 
in  quick  succession.  Gillray  held  the  popular  ear,  and 
the  undercurrent  of  serious  good  feeling  and  social  bonds 
revealed  in  the  books  of  travel  already  spoken  of  was 
too  often  obscured  by  the  scum  of  acceptable  lies.  "  We 
prided  ourselves  on  our  prejudices,"  says  Thackeray  in 
the  Four  Georges^  "we  blustered  and  bragged  with 
absurd  vainglory ;  we  dealt  to  our  enemy  a  monstrous 
injustice  of  contempt  and  scorn ;  we  fought  him  with  all 
weapons,  mean  as  well  as  heroic.  There  was  no  lie  we 
would  not  believe  ;  no  charge  of  crime  which  our  furious 
prejudice  would  not  credit.  I  thought  at  one  time  of 
making  a  collection  of  the  lies  which  the  French  had 
written  against  us,  and  we  had  published  against  them 
during  the  war ;  it  would  be  a  strange  memorial  of 
popular  falsehoods." 

'"Were  not  all  the  world  concerned  in  the  drama!  all  the  Mighty 
Kings,  all  the  Petty  Princes,  Buonaparte,  Pitt,  Burke,  Sheridan,  Fox.  The 
Age  of  Pigmies  and  the  Age  of  Giants."  {^Somerset  House  Gazette  (1824), 
vol.  i.  p.  359.) 


FOREIGN  TRAVEL  229 

It  is  pleasant  to  leave  the  military  and  political  life 
of  the  time  and  to  turn  once  more  to  books  of  travel  for 
travelling's  sake.  The  tourist  is  not  always  a  dignified 
figure,  but  at  least  he  is  a  factor  in  international  peace. 

Enough  has  been  said  of  travels  in  France,  but 
Germany,  Holland,  the  Baltic,  Italy,  Spain  even,  in  its 
physical  aspects  at  least,  all  received  their  share 
of  the  new  literature  of  scenery  and  topography ;  while 
such  books  as  Heriot's  Picturesque  Tour  through  the 
Pyrenean  Mountains,  Shoberl's  Picturesque  Tour  from 
Geneva  to  Milan,  and  Tooke's  Picturesque  Scenery  of 
Norway  herald  the  growth  of  the  English  taste  for 
mountaineering. 

As  far  as  the  illustrations  go,  this  book  of  Heriot's 
presents  a  strong  contrast  to  his  other  work,  the  Canadas, 
though  each  is  a  good  example  of  the  technical  range  to 
be  found  in  pure  aquatint.  The  Canadas  has  the  very 
coarsest  of  grounds,  and  the  Pyrenees  the  finest :  both 
are  uncoloured,  but  while  the  first  is  very  thin  and  poor, 
the  last  is  exceedingly  rich,  though  printed  only  in  sepia. 
In  another  book  on  the  same  subject,  J.  Hardy's  Tour  of 
the  High  Pyrenees,  the  plates  are  among  the  most  beauti- 
ful to  be  found  in  aquatint  engraving.  They  measure 
only  3I  X  2^  inches,  the  ground  is  exceedingly  fine,  and 
there  is  no  line  whatever.  The  colouring  is  most  delicate, 
and  all  the  twenty-four  illustrations  are  exquisite.  On 
Plate  19,  "  The  Cascade  of  L' Escombons,''  there  is  a  tiny 
touch  of  white  left  in  a  bird  flying  across  the  ravine, 
which  is  masterly. 

Corsica,  since  the  days  of  Boswell  and  Paoli  a  constant 
source  of  interest  to  Englishmen,   had   now  an  added 


230  HISTORY  OF  AQUATINT 

interest  as  the  birthplace  of  the  Usurper,  but  of  the 
books  devoted  to  it  Robert  Benson's  Sketches  in 
Corsica  (1825)  with  aquatint  plates,  alone  calls  for 
mention  here. 

One  of  the  earliest  illustrated  books  on  the  Rhine 
district  was  the  Rev.  John  Gardnor's  Views  on  and  near 
the  River  Rhine  (1788  and  1791) ;  of  the  author  a  brief 
account  is  given  elsewhere,  but,  except  from  his  position 
as  one  of  the  ealiest  aquatintists,  his  work  is  of  no 
importance. 

Among  the  very  few  books  of  travel  written  by  a 
woman  at  this  period  those  of  Maria  Graham,  after- 
wards Lady  Callcott,  1 785-1842,  take  a  high  place. 
The  daughter  of  Admiral  Dundas,  she  first  married 
Captain  Thomas  Graham,  R.N.,  with  whom  she 
travelled  widely,  publishing  pleasantly  written  accounts 
of  her  journeys.  Three  Months  passed  in  the  Moun- 
tains East  of  Rome  (1820)  is  the  earliest  of  these,  and 
was  followed  in  1824  by  A  Journal  of  a  Voyage  to 
Brazil  and  A  Journal  of  a  Residence  in  Chile.  Her 
first  husband  died  off  Cape  Town  in  1822,  on  a  voyage 
to  South  America,  but  his  wife  proceeded  to  Valparaiso, 
and  after  remaining  there  a  few  months  as  instructress 
to  Donna  Maria  of  Brazil  she  returned  to  England, 
settled  down  to  literary  work,  and  in  1827  married 
Sir  A.  W.  Callcott,  R.A.  Though  an  invalid  during  her 
later  years,  she  wrote  a  long  series  of  moral  stories  for 
children  and  is  known  to  most  people,  by  tradition  at 
least,  as  the  author  of  Little  Arthurs  History  of 
England. 

Earlier  than  any  of  these  were  the  important  books 


FOREIGN  TRAVEL  231 

on  France  and  Italy  produced  by  Albanis  de  Beaumont, 
a  Piedmontese  naturalised  in  England,  who  was  at  once 
landscape  painter,  draughtsman  and  engraver.  His  first 
book  of  views.  Voyage  Pittoresque  aux  Alpes  Pennines^ 
was  published  at  Genoa  in  1787,  before  he  settled  in 
England  ;  but  during  the  latter  part  of  his  life  he  entered 
into  partnership  with  one  Thomas  Gowland  and  the 
Dutch  amateur  Cornelius  Apostool  for  the  purpose  of 
producing  a  similar  series  of  views.  The  earlier  volumes 
were  charmingly  coloured  by  Bernard  Lory  the  elder, 
and  met  with  great  success,  but  the  later  drawings  lack 
this  attraction.  Beaumont's  drawing  is  weak,  and  only 
the  volumes  in  which  the  plates  were  worked  on  by 
Apostool  and  Lory  are  of  any  importance  in  the  history 
of  aquatint,  though  the  series  embraces  four  volumes,  all 
of  large  size. 

Cornelius  Apostool  (1762- 1844),  a  Dutch  amateur, 
also  a  painter  and  engraver  in  aquatint,  born  at  Amster- 
dam of  a  good  old  merchant  stock,  visited  this  country 
with  Henry  Meyer.  After  his  return  to  Amsterdam  in 
1796  he  held  several  public  and  diplomatic  appointments, 
including,  in  1808,  the  directorship  of  the  Amsterdam 
Museum.  As  a  connoisseur  his  sympathies  were  wide, 
and  he  did  useful  work  on  the  commission  for  the 
recovery  of  the  Dutch  works  of  art  carried  off  by 
Napoleon.  He  published  a  number  of  volumes  during 
his  stay  in  England,  including  Beauties  of  the  Dutch 
School,  Select  Views  in  the  South  of  France,  and  two 
plates  in  Daniell's  Views  of  Hindostan,  and  executed 
engravings  after  Hogarth,  Barret  and  others. 

More    important,    because    not    yet    superseded,    is 


232  HISTORY  OF  AQUATINT 

Sir  George  Steuart  Mackenzie's  book  on  Iceland. 
Mackenzie,  a  distinguished  mineralogist,  went  out  with 
Sir  Henry  Holland  and  Dr  Richard  Bright,  the  book, 
Travels  in  Iceland {i2>ii),  being  their  joint  production. 
The  scientific  parts  have  long  been  out  of  date,  but 
the  aquatints  by  J.  Clark  are  of  some  interest,  and 
the  narrative,  which  was  contributed  by  Mackenzie,  is 
of  permanent  value.  The  mineralogical  collections  they 
brought  back  were  spoken  of  with  admiration  by  Sir 
Charles  Lyell. 

The  beginning  of  the  nineteenth  century,  if  more 
commonly  thought  of  in  connection  with  romanticism, 
was  for  England  also  a  time  of  revival  in  classical 
studies.  To  French  travellers  we  owe  some  of  the 
earliest  books  on  travel  in  classical  lands,  as  well  as  the 
earliest  artistic  record  of  the  Parthenon,  but  in  the 
decade  between  1760  and  1770  the  Society  of  Dilettanti 
and  writers  like  Chandler,  Stuart  and  Revett  had  done 
much  good  work  in  the  same  direction,  while  Sir  William 
Chambers  and  the  brothers  Adam  had  made  exhaustive 
studies  of  classic  ornament.  Curiously  little  was  done, 
however,  save  for  the  publication  of  the  Hamilton  Vases, 
between  1770  and  1804,  but  in  this  year  was  published 
the  first  of  several  books  with  aquatint  illustrations 
which  did  much  to  prepare  English  minds  for  the 
revelation  of  the  Elgin  Marbles,  Cell's  Topography  of 
Troy  and  its  Vicinity^  followed  three  years  later  by 
the  Geography  and  Antiquities  of  Ithaca  and  Wilkins' 
Antiquities  of  Magna  GrcBcia.  Cell's  Itinerary  i^iZio) 
is  an  attempt  to  go  through  Greece,  Pausanias  and 
Strabo  in  hand,  but,  as  in  his  earlier  book  on  Troy,  the 


FOREIGN  TRAVEL  233 

author's  taste  was  for  topography  rather  than  antiquities, 

and  Byron's  well-known  couplet  hints  at  this  limitation  ; — 

"  Of  Dardan  tours  let  dilettanti  tell, 
I  leave  topography  to  classic  Gell." 

So  it  stands  in  the  first  four  editions ;  in  the  fifth, 
Byron,  who  had,  by  that  time,  visited  the  Troad,  altered 
" classic"  to  "  rapid,"  since  Gell  had  "  topographised  and 
typographised  King  Priam's  dominions  in  three  days."  An 
earlier  book,  the  Geography  and  Antiquities  of  Ithaca 
(1807)  is  more  important  for  present  purposes,  since  it  con- 
tains eight  aquatint  plates,  some  of  them  of  large  size,  by 
Tomkins,  Wright  and  Bluck.  The  preface  is  interest- 
ing as  laying  stress  on  the  contemporary  interest  in 
Homeric  antiquities,  Ithaca  being  treated  primarily  as 
the  kingdom  of  Ulysses.  Gell's  other  books,  important 
as  they  are,  are  not  illustrated  in  aquatint,  nor  are  his 
illustrations  in  any  case  as  important  as  his  matter. 

Another  writer  on  the  Levantine  area  was  James 
Dallaway  (1763- 1834),  whose  Constantinople,  Ancient 
and  Modern,  published  in  1797,  at  once  took  its  place 
as  a  standard  book.  From  the  artistic  standpoint  it  is 
noteworthy  for  its  fine  early  aquatints,  ten  plates  and  a 
vignette  on  the  title,  by  Stadler,  which  have  the  feature, 
unusual  in  book  illustration,  of  an  aquatint  border  form- 
ing a  frame  round  each  plate.  The  effect  is  good,  and 
the  pictures  among  the  most  interesting  of  Stadler's 
earlier  work.^ 

*  A  note  in  the  Diary  of  Charles  Turner  for  March  1803,  throws  some 
light  on  the  very  obscure  subject  of  the  payment  of  aquatintists,  and  may 
be  here  inserted  as  having  reference  to  a  plate  with  an  aquatint  border 
similar  to  those  in  Dallaway's  book  above  mentioned  :  "  Finished  Mrs 
Mountain  and  Paid  for  Aquatinting  the  Border,  10.  6."  (See  the  Connoisseur, 
Jan.  1909,  where  a  reproduction  of  the  plate  in  question  is  given.) 


234  HISTORY  OF  AQUATINT 

Middleton's  Grecian  Remains  in  Italy  (1812),  Dod- 
well's  Views  in  Greece  (182 1),  and  P.  F.  Laurent's 
Recollections  of  a  Classical  Tour  of  the  same  year  all 
played  their  part  in  the  creation  of  English  archaeology, 
then  and  for  sometime  afterwards  chiefly  based  on  a 
study  of  classical  architecture.  A  little  later  came 
Professor  T.  L.  Donaldson's  Pompeii  Illustrated {i^2^\ 
in  which  the  plates  were  the  work  of  J.  P.  Cockburn 
(1779- 1 847),  a  major-general  in  the  Royal  Artillery,  who 
as  a  cadet  had  been  a  pupil  of  Paul  Sandby.  He  became 
an  artist  of  distinction,  and  during  his  periods  of  leave 
made  many  drawings  of  continental  scenery,  chiefly  pub- 
lished in  four  series  between  1820  and  1822.  A  Voyage 
to  Cadiz  and  Gibraltar  {i2>i^)  seems  to  have  been  the 
earliest  of  his  published  works. 

An  interesting  fact  to  which  little  attention  has  been 
directed  is  that  a  revival  of  interest  in  the  nearer  East, 
proved  by  the  publication  of  a  number  of  books  of  travel, 
must  have  had  great  influence  in  preparing  the  way  for 
Byron.  Such  works  as  Mayer's  Views  in  Turkey  (1801), 
Views  in  the  Ottoman  Empire  (1803),  and  Views  in  the 
Ottoman  Dominions  (1810),  and  Hamilton's  Remarks  on 
Several  Parts  of  Turkey  (1809)  did  much  to  familiarise 
the  public  with  things  Eastern,  while  in  J.  C.  Hobhouse's 
Journey  through  Albania  (18 13)  we  have  a  direct  link 
with  Byron,  as  well  as  with  the  largest  and  most  im- 
portant section  of  books  of  foreign  travel  illustrated  with 
aquatints,  those  on  the  East. 

Since  the  days  of  Bruce  and  the  parodies  of 
Munchausen,  Abyssinia  had  been  a  topic  of  incredulous 
interest  in  England,  and  Henry  Salt,  the  author,  longo 


FOREIGN  TRAVEL  235 

intervallo,  of  the  second  great  book  on  that  country,  was 
a  traveller  of  no  small  importance.  Born  in  1780,  in 
1797  he  became  a  pupil  of  Joseph  Farington,  and  later 
of  John  Hoppner,  being  intended  for  a  portrait  painter. 
But  he  never  obtained  full  mastery  over  his  material, 
and  found  a  more  congenial  occupation  in  accompanying 
Lord  Valentia  as  secretary  and  draughtsman  on  a  tour 
in  the  East  in  1802.  He  made  many  drawings  to  illus- 
trate Lord  Valentia's  Voyages  and  Travels  to  India 
(1809),^  and  in  the  same  year  published  his  Twenty-four 
Views  in  St  Helena  and  Egypt.  In  that  year  he  was 
sent  by  the  British  Government  to  Abyssinia,  a  mission 
resulting  in  the  book  above  mentioned,  and  in  181 5  he 
was  appointed  British  Consul  -  General  in  Egypt,  and 
died  in  office  in  1827.  "  Hinorai  Sawelt,"  as  his 
correspondent  the  ras  of  Tigre  called  him,  made 
several  notable  collections  of  Egyptian  antiquities,  one 
of  which,  after  long  negotiations,  owing  to  the  prices  he 
asked,  passed  to  the  British  Museum,  a  second  to  the 
Louvre,  while  a  third  was  sold  after  his  death,  ^4500 
being  then  expended  at  this  sale  by  the  British  Museum. 
He  was  also  the  patron  of  Belzoni,  who,  through  his 
means,  obtained  the  colossal  bust  of  Rameses  1 1  in  the 
British  Museum,  and  the  great  sarcophagus,  now  the 
glory  of  the  Soane  Museum,  which  had  been  refused 
by  the  authorities  of  the   British  Museum.      Only  this 

^  Cf.  English  Bards  and  Scotch  Reviewers, 

"  Let  vain  Valentia  rival  luckless  Carr 
And  equal  him  whose  work  he  sought  to  mar," 

with  its  yet  unkinder  note,  "  Lord  Valentia,  whose  tremendous  travels 
are  forthcoming  with  due  decorations,  graphical,  topographical,  and 
typographical." 

P 


236  HISTORY  OF  AQUATINT 

one  book  of  Salt's,  Views  in  St  Helena  and  Egypt^  was 
illustrated  in  aquatint,  and  it  posseses  a  certain  historical 
interest  from  the  date  of  its  publication,  some  years 
before  the  name  of  St  Helena  can  have  conveyed  much 
to  Englishmen. 

George  Hutchinson  Bellasis  and  William  Innes 
Pocock  (1783- 1836)  claim  the  priority  in  the  small 
group  of  books  relating  to  the  island  in  its  historic 
days.  Bellasis'  Views  of  St  Helena,  with  six  coloured 
aquatints  by  Havell,  appeared  in  181 5,  as  did  Pocock's 
Five  Views  of  the  Island  of  St  Helena.  The  second 
son  of  Nicholas  Pocock  the  marine  painter,  Pocock  early 
entered  the  navy,  and  made  several  voyages  to  the 
Cape,  St  Helena,  and  China.  During  the  last  of  these 
his  ship  was  detained  at  St  Helena  to  refit,  and  he  spent 
his  leisure  in  making  sketches  of  the  island,  then,  thanks 
to  Napoleon,  the  subject  of  great  curiosity  in  this 
country.  Watt  in  his  Bibliographica  Britannica  states 
that  in  1 8 1 5  Pocock  also  published  Naval  Records,  con- 
sisting of  a  Series  of  Engravings  from  Original  Designs 
by  Nicholas  Pocock ;  illustrative  of  the  Engagements  at 
Sea  since  the  Commencement  of  the  War  in  17Q3,  with 
an  Account  of  each  Action.  Pocock  waxes  enthusiastic 
over  the  value  of  St  Helena  as  a  political  prison,  "a 
place  where  the  extraordinary  prisoner  now  on  his 
voyage  thither  may  be  securely  confined — as  far  as 
possible  from  the  admiring  curiosity  of  the  many  of  all 
countries,"  and  concludes  that  "  the  dominions  of  Great 
Britain  do  not  offer  a  more  eligible  place  than  St 
Helena." 

Another  book  on  the   same   subject,  illustrated   in 


FOREIGN  TRAVEL  237 

aquatint,  is  Tracts  Relative  to  the  Island  of  St  Helena 
(18 16),  by  a  more  important  authority  than  Pocock, 
Alexander  Beatson,  a  lieutenant-general  in  the  East 
India  Company's  service,  who  took  an  active  part  in 
Lord  Cornwallis's  campaigns  against  Tippoo  Sahib,  and 
was  present  at  the  capture  of  Seringapatam  in  1799. 
From  1808-13  he  held  the  governorship  of  St  Helena, 
then  belonging  to  the  East  India  Company,  and  in  a 
very  unsatisfactory  state,  having  been  decimated  by 
epidemics.  In  181 1  only  the  firmness  of  Beatson 
stopped  a  serious  mutiny,  and  affairs  were  in  a  better 
condition  when  the  English  Government  took  over  the 
island  as  a  dependency  of  the  Crown.  Beatson  returned 
to  England  in  181 3,  and  his  Tracts  were  published  in 
1 8 16,  when  he  had  settled  down  to  a  life  of  agricultural 
experiments,  which  lasted  until  his  death  in  1833. 

Still  another  volume  of  Views  of  the  Island  of  St 
Helena  v^3.s  published  by  James  Wathen,  alias  "Jemmy 
Sketch,"  traveller  and  glover,  in  1821,  and  in  the  follow- 
ing year  Salt's  book  was  reissued,  the  last  of  this  special 
group  of  books  whose  artistic  interest  is,  on  the  whole, 
less  than  their  historical  importance.  James  Wathen 
(175 1  ?-i828)  was  likewise  the  author  of  A  Voyage  to 
Madras  and  China  (18 14),  also  illustrated  in  aquatint 
from  his  own  drawings ;  in  the  earlier  part  of  his  life 
he  made  pedestrian  tours  about  Great  Britain,  which 
he  described  in  the  Gentleman  s  Magazine^  and  in  18 16 
paid  a  visit  to  Byron  in  Italy. 

The  scientific  results  of  the  books  on  Africa  thus  far 
considered  is  small ;  we  now  come  to  a  name  of  great 
distinction  in  the  history  of  exploration,  that  of  Thomas 


238  HISTORY  OF  AQUATINT 

Edward  Bowdich  (1791-1824),  son  of  a  hat  manufacturer 
at  Bristol.  After  spending  a  year  in  his  father's  business 
and  making  a  very  early  marriage,  his  uncle,  then  chief 
governor  of  the  settlements  belonging  to  the  African 
Company,  gave  him  a  writership  in  the  service,  and  in 
1 81 5  he  was  appointed  conductor  of  the  Company's 
mission  to  Ashantee.  He  was,  however,  superseded  on 
account  of  his  youth,  but,  subsequent  events  demanding 
diplomacy  and  personal  courage,  he  was  restored  to  the 
command,  and  concluded  a  successful  treaty  with  the  King 
of  Ashantee  by  which  peace  was  assured  to  the  British 
settlements  on  the  Gold  Coast.  The  work  in  which  he 
records  the  results  of  his  Mission  from  Cape  Coast  Castle 
to  Ashantee  (1819)  was  received  with  enthusiasm,  and 
his  account  of  a  people  hitherto  unknown  and  their 
"  warlike  barbaric  splendour "  excited  widespread 
interest.  On  his  return  home  in  18 18  he  exposed  the 
African  Company's  management  of  their  possessions 
with  such  success  that  the  home  government  took  them 
into  its  own  hands.  Having  presented  to  the  British 
Museum  his  collection  of  works  of  art,  native  manu- 
factures, and  specimens  of  reptiles  and  insects,  he  went 
to  Paris  to  improve  himself  in  certain  departments 
of  scientific  travelling,  where  he  and  his  wife,  his 
constant  companion  and  the  illustrator  of  many  of  his 
books,  were  welcomed  by  all  the  savants  of  the  day  ; 
Cuvier  placed  his  library  and  collections  at  his  disposal 
during  the  three  years  he  remained,  years  which  were 
fruitful  in  scientific  work,  much  of  it  of  permanent 
interest.  In  1822  he  and  his  devoted  wife  started  on 
a  second  expedition  to  West  Africa.      They  were  de- 


FOREIGN  TRAVEL  239 

tained  some  months  in  Madeira,  and  again  at  the  mouth 
of  the  Gambia,  where  he  caught  cold  while  taking 
astronomical  observations  at  night,  and  died  in  1825  at 
the  age  of  thirty-three.  An  interesting  account  of  this 
"  Christian,  scholar  and  gentleman  "  is  to  be  found  in  the 
Gentleman! s  Magazine  for  1824,  vol.  i.  p.  279-80. 

Another  important  traveller  was  W.  J.  Burchell,  a 
naturalist  and  explorer  who,  in  1805,  was  appointed  by 
the  East  India  Company  "  schoolmaster  and  acting 
botanist  "at  the  island  of  St  Helena.  While  there  he 
made  the  acquaintance  of  General  Janssens,  the  last 
Dutch  governor  of  the  Cape,  and  of  Dr  Martin  Lichten- 
stein,  then  a  young  physician  on  the  governor's  staff,  and 
afterwards  a  celebrated  Berlin  naturalist.  Furnished 
with  letters  of  introduction  from  them  to  the  chief  Dutch 
and  German  residents,  Burchell  set  off  to  the  Cape  with 
the  intention  of  exploring  the  interior  of  South  Africa. 
A  party  of  Hottentots  were  his  sole  companions  and 
assistants  in  more  than  three  years  of  exploration,  during 
which  he  made  large  collections  of  mammalia,  a  selection 
from  which,  originally  presented  to  the  British  Museum, 
is  now  at  South  Kensington.  He  only  published  the 
first  part  of  his  Travels  in  the  Interior  of  Southern 
Africa  (1822-24),  3.  book  written  in  excellent  style  and 
illustrated  from  his  own  drawings.  In  1825,  he  planned 
and  carried  out  alone  a  journey  across  South  America, 
but  the  only  published  account  of  these  explorations  is 
contained  in  two  letters  to  Sir  William  Hooker,  printed 
in  vol.  ii.  of  the  Botanical  Miscellany.  On  this  occasion 
he  made  most  extensive  botanical  collections,  which, 
together  with  the  MSS.  relating  to  them,  were  presented 


240  HISTORY  OF  AQUATINT 

to  Kew  Gardens  after  his  death.  Dr  Swainson  has 
said  of  him  that  "he  must  be  regarded  as  one  of  the 
most  learned  and  accompHshed  travellers  of  any  age  or 
country,"  and  that,  to  her  lasting  disgrace,  "  he  is  signally 
neglected  in  his  own  country." 

Though  he  was  a  traveller  of  a  far  less  scientific 
order,  the  career  of  Christian  Ignatius  Latrobe  (1758- 
1836)  is  not  without  interest.  The  eldest  son  of  a 
Moravian  minister,  and  originally  a  musical  composer, 
he  took  up  his  father's  calling  and  visited  South 
Africa  as  an  advocate  of  Moravian  missions.  His 
Journal  of  a  Visit  to  South  Africa  (18 18)  is  a  good 
specimen  of  the  early  literature  of  missionary  effort, 
giving  a  sufficiently  vivid  record  of  personal  experiences, 
native  customs,  and  objects  of  natural  interest  that  come 
under  his  notice,  though  mainly  taken  up  with  the  affairs 
of  the  United  Brethren.  The  aquatint  plates  by  Stadler, 
Bluck  and  Havell  are  fair  specimens  of  their  class.  As  a 
publisher  of  selections  of  sacred  music  Latrobe  did  real 
service  in  introducing  the  forgotten  work  of  good 
musicians  to  public  notice,  and  he  was  besides  a  com- 
poser of  some  merit.  He  also  published  a  number  of 
books  on  various  subjects,  none  of  which  concern  the 
student  of  aquatint.  Other  important  works  on  African 
travel  illustrated  in  aquatint  are  Spilsbury's  Account  of 
a  Voyage  to  the  Western  Coast  of  Africa  (1806)  and 
J.  Mollien's  Travels  in  the  Interior  of  Africa  (1820), 
but  they  call  for  no  detailed  notice  here. 

Retracing  our  steps,  we  must  now  turn  to  the  books 
on  Asia  and  the  East,  beginning  with  Persia  and  the 
works  of  James  Justinian  Morier,  the  delectable  author  of 


FOREIGN  TRAVEL  241 

Hajji  Baba.  Six  of  the  seven  Moriers  mentioned  in  the 
Dictionary  of  National  Biography  belonged  to  one  family, 
all  were  distinguished,  and  all  diplomatists,  a  case  pro- 
bably without  parallel  in  our  history.  James  Justinian's 
father  was  consul  of  the  Levant  Company,  his  three 
brothers  and  his  nephews  were  distinguished  diploma- 
tists, but  his  own  diplomatic  services,  his  other  novels, 
even  his  fame  as  a  writer  of  travels  are  forgotten  in  the 
unquenchable  laughter  that  glorifies  the  name  of  Hajji 
Baba  of  Ispahan. 

Morier  was  born  at  Smyrna  about  1780,  was  sent  to 
Harrow,  and  entered  the  diplomatic  service  in  1807,  as 
private  secretary  to  Sir  Harford  Jones'  mission  to  the 
Court  of  Persia.  Next  year  he  became  secretary  of 
legation,  and  after  three  months  in  Teheran  was  sent 
home,  probably  with  despatches,  returning  via  Turkey 
in  Asia,  and  so  obtaining  the  material  for  his  Journey 
through  Persia,  Armenia,  arid  Asia  Minor  to  Constanti- 
nople in  the  Years  1808  and  i8og,  which  was  published 
in  18 1 2,  during  his  second  absence  in  Persia,  and  at 
once  took  rank  as  a  work  of  high  authority.  Morier's 
style  is  admirable,  even  in  this  his  earliest  book, 
humorous,  vivid,  and  accurate ;  translations  into  French 
and  German  appeared  in  18 13  and  181 5.  Meanwhile 
Morier's  second  diplomatic  appointment  as  secretary  of 
embassy  to  Sir  Gore  Ouseley,  ambassador  extraordinary 
to  the  Court  of  Teheran,  took  place  in  18 10,  and  he 
sailed,  it  is  interesting  to  note,  on  the  same  vessel,  the 
Lion,  which  had  carried  Macartney  and  his  mission  to 
China  in  1792.  The  work  of  the  embassy,  an  attempt 
to  enlist  the  support  of  Persia  against  the  Russo- French 


242  HISTORY  OF  AQUATINT 

alliance,  is  described  in  his  Second  Journey  to  Persia 
(1818).  From  1 8 14- 1 5  Morier  was  left  in  charge  of  the 
embassy  at  Teheran,  but  in  the  latter  year  was  recalled, 
returned  to  England  by  his  former  route,  retired  from 
the  service  on  a  pension  in  1817,  and  thenceforth,  save 
for  a  period  of  special  service  as  Commissioner  in  Mexico 
from  1824-26,  devoted  himself  to  literary  work.  Hajji 
Baba,  his  best  and  earliest  novel,  made  a  great  sensation, 
and  its  publication  is  said  to  have  caused  a  remonstrance 
from  the  Persian  ambassador ;  but  its  perennial  humour, 
freshness,  and  satire  still  suggest  that  Scott  was  not  far 
wrong  in  acclaiming  Morier  in  the  Quarterly  Review  as 
the  best  novelist  of  the  day.  He  was  also  an  artist  of 
some  merit,  and  his  illustrations  to  his  Travels  are  of 
considerable  interest.      He  died  in  1849. 

Sir  Robert  Kerr  Porter,  whose  work  has  already 
been  described  at  length  in  connection  with  Russia, 
published  later  in  life  some  interesting  Travels  in 
Georgia  (1821),  the  illustrations,  also  from  his  own 
drawings,  showing  a  great  advance  on  those  in  his 
earlier  books.  J.  G.  Jackson's  Account  of  the  Empire 
and  District  of  Suse  (1809)  is  another  important  book 
of  travels  with  aquatint  plates. 

With  books  on  India  we  reach  the  subject  most 
important  to  the  student  of  coloured  books  of  travel, 
for  it  naturally  offered  the  widest  field  to  the  artist  both 
from  the  point  of  view  of  sport  /and  costume,  and  from 
the  growing  interest  in  the  country  aroused  by  the 
campaigns  of  Lake  and  Wellesley  and  its  ever  closer 
connection  with  England.  Edward  Orme  was  after 
Ackermann  the  most  important  publisher  in  the  period 


FOREIGN  TRAVEL  243 

under  review,  and  to  his  press  we  owe  most  of  the  fine 
books  on  India  that  appeared  about  that  time,  but  little 
seems  to  be  known  of  him  except  the  fact  that  he  was 
publisher  to  the  king.  The  first  of  his  name  to  write 
was  Robert  Orme,  the  historian  whose  History  (1763), 
"containing  the  exploits  of  Clive  and  Lawrence,  was  his 
favourite  book  of  all  in  his  father's  library;"  and  sent 
Colonel  Newcome  to  India.  It  is  a  happy  but  unproven 
conjecture  that  this  Robert  was  an  older  kinsman  of 
Edward  Orme  and  of  Daniel  and  W.  Orme,  the  artists 
who  illustrated  many  of  the  volumes  published  by 
Edward  Orme.  A  curious  obscurity  hangs  over  this 
interesting  group,  only  known  to  us,  despite  the  high 
importance  of  their  work,  as  publishers  and  artists. 
Almost  the  only  reference  to  the  publisher  is  a  footnote 
in  Blagdon's  introduction  to  the  Historical  Memento 
representing  the  Different  Scenes  of  Public  Rejoicing  in 
celebration  of  the  Glorious  Peace  of  1814,  etc.  "In  the 
course  of  the  war  Mr  Edward  Orme  of  Bond  Street  has 
not  been  inactive  in  the  good  cause ;  he  has  omitted  no 
opportunity  of  bringing  forward  to  public  admiration,  by 
the  graphic  art,  the  principal  events  in  which  our  arms 
have  triumphed  both  by  sea  and  land  ;  publishing  at 
various  periods  engravings  of  those  great  exploits  most 
calculated  to  impress  the  mind  with  correct  ideas  of  the 
arduous  struggles  which  have  immortalised  the  British 
name  ;  as  also  correct  portraits  of  our  gallant  officers,  the 
stay  and  honour  of  their  country."  The  earliest  of 
Orme's  Indian  publications  was  Twelve  Views  of  Places 
in  the  Kingdom  of  Mysore,  by  R.  H.  Colebrook  (1794), 
with  large  coloured  aquatints  by  J.  W.  Edy  ;  Picturesque 


244  HISTORY  OF  AQUATINT 

Scenery  in  the  Kingdom  of  Mysore  (1805),  with  its  forty 
coloured  aquatints  after  James  Hunter,  returned  to  the 
same  subject,  and  is  frequently  bound  with  two  other  of 
Orme's  publications  Twenty-four  Views  in  Hindostan 
(1803),  and  Blagdon's  Brief  History  of  Ancient  and 
Modern  India  (1805). 

The  artists  who  collaborated  with  him  on  the  Indian 
series  were  Thomas  Daniell  and  his  nephew  William, 
both  landscape  painters.  In  1784  Thomas  went  to 
India,  taking  with  him  William,  then  only  four- 
teen years  of  age.  They  stayed  ten  years,  making 
a  large  number  of  drawings  in  various  parts  of  the 
Continent,  at  that  time  but  little  visited.  On  their 
return  they  set  to  work  on  the  great  publication  issued 
in  1 808  under  the  title  of  Oriental  Scenery.  Two  years 
later  appeared  another  book  in  which  uncle  and  nephew 
collaborated,  A  Picturesque  Voyage  to  India  by  the  Way 
^of  China.  Thomas  Daniell  was  a  frequent  contributor 
to  the  Royal  Academy,  and  having  made  a  good  deal 
of  money  by  the  sale  of  his  eastern  drawings,  retired 
early  from  public  life.  His  other  nephew  Samuel  was 
also  a  landscape  painter,  and  all  three  were  skilled 
engravers,  though  the  plates  of  Samuel  show  perhaps 
the  most  proficiency.  His  taste  for  natural  history  led 
to  his  visiting  the  Cape  of  Good  Hope  during  the  first 
British  occupation  of  that  colony.  In  1801  he  went  as 
secretary  and  draughtsman  to  the  mission  headed  by 
Truter  and  Somerville  to  visit  Bechuanaland,  a  narrative 
of  which  by  Truter  was  appended  to  Barrow's  Voyage 
to  Cochinchina  (1806).  In  1806,  Daniell  went  out  to 
Ceylon,  where  he  died  in  1 8 1 1 ,  his  constitution  having 


FOREIGN  TRAVEL  245 

become  weakened  from  exposure  in  swamps  and  forests 
when  sketching.  His  very  fine  work  on  African 
Scenery  and  Animals,  which  came  out  in  1804-5  without 
a  title-page,  contains  fifty  plates  drawn  and  engraved  by 
himself,  and  his  other  book,  A  Picturesque  Illustration 
of  the  Scenery,  Animals,  and  Native  Inhabitants  of  the 
Island  of  Ceylon,  has  some  attractive  aquatints  after  his 
drawings.  William  Daniell's  great  work,  A  Voyage 
round  Great  Britain,  published  in  four  volumes  in 
1825,  will  be  treated  in  the  following  chapter,  and  the 
illustrations  for  the  Oriental  Annual  ior  1834-38  are  also 
engraved  from  his  drawings,  but  his  work  on  Smyth's 
book  on  Sicily  needs  a  few  words  to  itself. 

William  Henry  Smyth  (1788- 1865),  at  first  an  officer 
in  the  East  India  Company's  service,  was  with  his  ship 
transferred  to  the  navy  in  1805,  and  after  seeing  active 
service  in  the  East  and  off  the  coast  of  Spain,  was  made 
commander  and  appointed  to  survey  the  coasts  of  Sicily 
and  the  adjacent  countries  on  behalf  of  the  Admiralty. 
His  results  were  published  in  the  Memoir  of  Sicily  (i2>2^), 
the  scientific  apparatus, .  notes  on  hydrography,  natural 
features,  fishes,  and  statistical  tables  of  towns  and 
villages  being  relegated  to  an  appendix.  Smyth's 
interest  lies  elsewhere,  in  the  poems  of  Meli,  in  which 
Leigh  Hunt  afterwards  took  such  delight,  in  the 
religious  ceremonies  of  the  country,  and  the  remains  of 
ancient  art  and  mediaeval  architecture.  But  the  chief 
importance  of  the  book  lies  in  its  plates,  probably  the 
most  exquisite  specimens  of  uncoloured  aquatint  to  be 
found  in  any  book,  by  "my  friend  Mr  Daniell,  R.A., 
whose   views   and   picturesque   scenery  in    India   have 


246  HISTORY  OF  AQUATINT 

established  his  reputation,"  a  reference  which,  with  a 
consideration  of  dates,  fixes  the  artist  as  William 
Daniell  (1769- 1837),  rather  than  his  uncle  Thomas 
Daniell  (1749- 1840).  Of  the  beauty  of  his  work  it  is 
impossible  to  speak  too  highly.  Take,  for  instance,  the 
plate  of  the  papyrus ;  no  such  representation  of  this 
exquisite  plant  has  been  produced  by  modern  art,  while 
technically  the  plate  is  a  wonder,  the  aquatint  background 
being  scarcely  distinguishable  from  a  wash.  Again,  archi- 
tectural effects  have  never  been  better  reproduced  than  in 
plates  like  the  ''  Cadavery  near  Palermo ^^  a  long  vaulted 
building  with  light  streaming  in  from  the  sides  and 
illuminating  the  round  niches  in  the  walls  and  their 
ghastly  contents,  "  mummies,  that  are  here  hung  by 
the  neck  in  hundreds,"  or  that  even  more  wonderful 
plate,  beside  which  the  illustrations  in  the  Stones  of 
Venice  look  poor  and  amateur,  the  Gothic  ''Cathedral 
Gate  of  Messina^'  than  which  no  finer  architectural  plate 
exists. 

Smyth  was  himself  an  admirable  architectural 
draughtsman,  as  his  illustrations  to  his  later  book 
on  Sardinia  prove,  and  one  cannot  but  suspect  that 
the  illustrations  to  the  Sicily,  so  different  in  character 
from  Daniell's  usual  work,  may  have  owed  something 
at  least  to  his  taste.  Smyth  early  retired  from  active 
service,  and,  devoting  himself  to  a  life  of  scientific 
research,  published  numerous  volumes  on  astronomy, 
numismatics,  and  naval  matters  during  the  last  forty  years 
of  his  life,  none,  however,  illustrated  in  aquatint. 

There  are  a  few  other  books  on  India  not  published 
by  Orme  which  claim  notice,  chiefly  on  account  of  their 


^^^^ai 

-^^^^^■1 

'^^^^^V' 

^^^^■r 

'^' ■■^\ 

^  ' 

-«     I 

4|^k. 

"^B' 

n 

^P 

1 

iff 

1 

The  Papyrus  Plant. 

From  Me7noirs  descriptive  of  Sicily  and  its  Islands  <'i824)  by  Captain  W.  H.  Smyth. 


FOREIGN  TRAVEL  247 

plates.  Among  these  the  most  important  is  Captain 
Charles  Gold's  Oriental  Drawings  (1806),  containing 
interesting  sketches  of  the  dress  of  native  regiments  and 
of  various  religious  fanatics,  such  as  the  Gentoo  devotee 
who  rolled  from  Trichinopoli  to  Pylney,  and  another 
enthusiast  who  wore  an  oblong  iron  grating  round  his 
neck  to  prevent  his  ever  lying  down.  T\i^  Journal  of  a 
Route  across  India  (1819)  of  George  Augustus  Frederic 
Fitzclarence,  first  Earl  of  Munster,  is  an  interesting 
record  of  travels  in  little-known  regions.  The  author 
made  the  campaigns  of  18 13-14  in  Spain  and  the  south 
of  France,  then  went  to  India  as  aide-de-camp  to  the 
Marquis  of  Hastings,  and  under  him  went  through  the 
Mahratta  compaigns  of  18 16- 17.  When  peace  was 
concluded  the  dispatches  were  sent  home  in  duplicate, 
and  those  sent  by  the  overland  route  were  entrusted  to 
Fitzclarence.  His  account  of  this  journey  is  well 
written  and  interesting,  but  the  Colonel's  literary  gift 
can  hardly  have  been  derived  from  his  father  ;  it  must 
have  come  from  Dora  Jordan — "  Shakespeare's  woman," 
as  Leigh  Hunt  somewhere  calls  her — "  whom  even  the 
Methodists  loved."  The  book  is  illustrated  by  some 
curious  sketches  of  Indian  military  costume,  which  were 
engraved  by  Ha  veil. 

Earlier  than  any  book  thus  far  mentioned  was  Select 
Views  in  India,  drawn  on  the  spot  in  lySo,  lySi,  IJ82 
and  lySj,  by  William  Hodges,  R.A.,  a  series  of  forty- 
eight  plates  engraved  and  coloured  by  the  author  and 
published  in  1786.  It  is  a  grand  book,  though  the 
plates  are  somewhat  heavily  coloured  by  hand  to  give 
the    appearance   of   drawings.       Humboldt's   desire   to 


248  HISTORY  OF  AQUATINT 

travel  was  directly  inspired  by  a  sight  of  these  Indian 
views. 

Hodges  (1744- 1 797)  was  originally  an  errand  boy  at 
Shipley's  drawing-school,  picked  up  his  knowledge  of 
drawing  bit  by  bit,  and  was  eventually  taken  as  assistant 
and  pupil  by  Richard  Wilson.  Through  the  interest  of 
Lord  Palmerston  he  obtained  the  post  of  draughtsman 
to  Captain  Cook's  second  expedition  to  the  South  Seas, 
and  on  his  return  was  employed  by  the  Admiralty  to 
finish  his  drawings  and  superintend  the  engraving  of 
them  for  the  publication  of  Captain  Cook's  Voyages, 
published  in  1777.  In  1780  he  went  to  India  under  the 
patronage  of  Warren  Hastings,  and  in  the  following 
years  made  those  drawings  from  which  the  selection 
already  mentioned  was  published.  On  his  return  he 
became  a  Royal  Academician,  painting  pictures  some- 
what in  the  style  of  Wilson,  a  few  of  which  were 
engraved  ;  but  as  an  artist  he  met  with  little  encourage- 
ment, and  after  1790  gave  up  his  profession  and  died  in 
obscurity  in  1797.  Two  of  his  characteristic  pictures 
are  in  the  Soane  Museum. 

One  of  the  finest  books  of  travel  brought  out 
by  Ackermann  was  Lieut.-Col.  Forrest's  Picturesque 
Tour  along  the  Rivers  Ganges  and  Jumna  (1824),  pub- 
lished in  six  monthly  parts,  and  containing  twenty-six 
fine  coloured  aquatints,  nineteen  by  T.  Sutherland  and 
five  by  G.  Hunt.  Another,  issued  by  the  same  pub- 
lisher and  immortalised  in  Noctes  Ambrosiancs,  was 
Captain  R.  M.  Grindlay's  Scenery,  Costumes  and  Archi- 
tecture— chiefly  on  the  Western  Side  of  India  (1826),  in 
which  the  plates  are  distributed  among  numerous  artists 


<    ^ 


FOREIGN  TRAVEL  249 

and  engravers ;  unlike  the  majority  of  the  books  named 
in  this  section,  none  are  from  the  hand  of  the  author,  so 
that  Christopher  North's  compliment,  "  Pen,  pencil,  or 
sword,  come  alike  to  the  hand  of  an  accomplished 
British  officer,"  is  less  appropriate  here  than  it  would 
have  been  in  many  other  cases.  The  book  is  also 
notable  as  one  of  the  few  which  preserve  the  name  of 
the  colourist  of  the  plates,  one  J.  B.  Hogarth. 

Among  the  latest  books  on  India  illustrated  in  aqua- 
tint is  Captain  Richard  Barron's  Views  in  India,  chiefly 
among  the  Neelgherry  Hills  (1837),  a  large  volume  with 
poor  and  gaudy  plates  by  Havell  after  Barron's  drawings. 
It  is  chiefly  remarkable  as  incidentally  proving  how  great 
a  part  of  India  was  still  unknown  at  the  beginning  of  the 
nineteenth  century.  Barron  states  that  the  Nilgherries 
were  only  discovered  in  18 19  through  two  civil  servants 
chasing  a  body  of  tobacco  smugglers  up  a  small  pass,  and 
so  reaching  "a  tableland  and  an  European  climate."  Truly, 
of  making  books  on  India  there  is  no  end,  and  this  long 
list  must  close  with  the  mention  of  the  Hon.  Mountstuart 
Elphinstone's  Kingdom  of  Cabul  (18 15),  an  able  and 
interesting  account  of  a  land  but  little  known. 

Less  numerous  than  those  on  India,  books  on  China 
are  still  a  formidable  array.  Lord  Macartney's  embassy 
in  1792,  opened  a  new  world  to  the  traveller,  and  thence- 
forward books  on  China  were  constantly  produced.  In 
Mansfield  Park,  Edmund  finds  Fanny  in  her  little  attic 
**  taking  a  trip  into  China  with  Lord  Macartney " ;  a 
little  later  she  would  have  had  a  greater  choice  of  books 
on  the  subject.  The  earliest  of  those  illustrated  in  aqua- 
tint were  John  Barrow's   Travels  in  China  (1804)  ^^^^ 


250  HISTORY  OF  AQUATINT 

A  Voyage  to  Cochin  China  (1806),  both  illustrated  by 
William  Alexander  (1767- 18 16),  the  first  Keeper  of 
Prints  and  Drawings  in  the  British  Museum,  who  had 
gone  out  as  junior  draughtsman  with  Lord  Macartney's 
embassy,  some  of  his  drawings  being  published  in  the 
official  account  brought  out  in  1797.  Alexander  also 
published  several  books  under  his  own  name.  In  1812 
he  became  professor  of  drawing  at  the  military  college 
at  Great  Marlow,  though  already  holding  his  Keepership 
at  the  British  Museum.  The  latter  office  had  been  created 
in  1808  in  consequence  of  serious  thefts  from  the  Museum, 
but  it  was  considered  so  unimportant  that,  on  Alexander's 
death  of  brain  fever  in  1816,  the  Archbishop  of  Canter- 
bury "was  astonished"  that  his  successor,  J.  T.  Smith, 
"should  think  it  worth  while  to  waste  his  strength  in 
pursuit  of  such  a  trifling  office."  Alexander  was  an 
excellent  draughtsman,  and  his  illustrations  are  of  con- 
siderable value.  Another  embassy  to  China  led  to 
a  more  important  publication  than  either  of  Barrow's 
works,  the  Journal  of  the  Proceedings  of  the  late  Embassy 
to  China  (18 17),  by  Sir  Henry  Ellis  (i 777-1 855),  third 
commissioner,  whose  narrative  takes  the  form  of  a  diary 
of  great  value  and  interest.  It  contains  an  appendix  of 
official  papers  chiefly  translated  from  the  Chinese  and  a 
map  of  the  route  taken  by  the  embassy,  and  is  illustrated 
with  admirable  plates  by  J.  Clark  after  the  Hon.  Charles 
Abbot.  An  interesting  note  by  Ellis  adds  that  "had 
the  author's  intention  been  known  or  indeed,  had  it 
existed  at  Canton,  the  value  of  the  work  would  probably 
have  been  increased  by  some  efforts  of  Mr  Havell's 
pencil ;    these    will   now,    however,    be   reserved   for  a 


FOREIGN  TRAVEL  251 

separate  publication,"  which,  however,  was  never  issued. 
On  his  return  Ellis  became  Clerk  of  the  Pells,  which 
office  he  held  until  its  abolition  in  1834,  as  well  as 
several  diplomatic  appointments,  while  he  did  valuable 
work  in  settling  the  relations  between  the  East  India 
Company  and  the  Government.  He  died  a  K.C.B.  and 
a  Privy  Councillor  in  1855. 

Two  years  before  Ellis's  book  was  published,  ap- 
peared Captain  Basil  Hall's  Account  of  a  Voyage  .  .  .  to 
Corea,  the  earliest  work  of  a  man  endeared  to  posterity 
by  the  affection  of  Sir  Walter  Scott,  who  received  him 
at  Abbotsford  in  1825,  and  was  repaid  by  much 
delicate  courtesy  when  he  left  England  on  his  last  sad 
journey.  Hall  (1788- 1844)  was  a  captain  in  the  navy 
with  a  strong  taste  for  exploration,  as  well  as  for  litera- 
ture. In  1 8 1 5  he  was  appointed  to  the  Lyra  and  ordered 
to  China  in  company  with  the  Alceste  frigate  and  Lord 
Amherst's  embassy ;  the  book  above  mentioned  gives 
his  account  of  this  journey.  On  the  way  home  he  had 
a  famous  interview  with  Napoleon,  who  had  known 
his  father,  Sir  James  Hall,  when  at  school.  The  book 
was  several  times  reprinted,  as  were  also  his  better- 
known  Fragments  of  Voyages  and  Travels,  of  which 
three  series,  in  nine  volumes,  were  issued  between  1831 
and  1833.  His  books  are  valuable  not  only  for  their 
vivid  and  trustworthy  descriptions  of  travel,  but  for  the 
information  they  contain  as  to  the  state  of  the  Navy  in 
the  early  part  of  last  century.  A  less  important  but  still 
interesting  book  is  y\.'\^^o^s  Narrative  of  a  Voyage  to 
the  Yellow  Sea  (181 7),  illustrated  with  aquatints  by  J. 
Clark,  after  the  author  and  Lieutenant  W.  H.  Dwarris. 

Q 


252  HISTORY  OF  AQUATINT 

In  spite  of  its  geographical  and  commercial  import- 
ance, Java  had  been  an  almost  unknown  land  to  English- 
men since  the  end  of  the  sixteenth  century  had  given  us 
A  true  report  of  the  gainefull  voyage  to  Java,  save  for 
the  fruitful  fiction  of  the  Upas  tree,  which  invested  the 
name  of  the  island  with  lurid  romance.  In  1817  appeared 
the  monumental  work  of  Sir  Thos.  Stamford  Raffles, 
which  in  spite  of  certain  inaccuracies  is  still  a  standard 
book.  Raffles  (i 781- 1826)  was  originally  a  clerk  in  the 
East  India  House,  where  he  was  somewhat  junior  to 
Charles  Lamb  ;  his  ability  was  noticed  by  the  directors, 
and  in  1805  he  was  sent  out  to  Penang,  where,  owing 
to  his  zeal  and  linguistic  gifts,  he  soon  obtained  pro- 
motion. In  the  year  181 1,  Lord  Minto,  then  command- 
ing in  the  Malay  Peninsula,  undertook  the  reduction  of 
Java,  and  his  success  was  largely  due  to  Raffles'  tact 
and  local  knowledge.  Minto  appointed  him  lieutenant- 
governor,  which  office  he  held  until  the  restoration  of 
the  island  to  the  Dutch  in  18 14.  His  administration 
was  fiercely  attacked  by  the  military  commandant, 
General  Gillespie,  and  on  his  recall,  though  exonerated 
from  the  charge  of  personal  misconduct,  he  could  not 
clear  himself  in  the  eyes  of  the  directors.  Henceforth 
he  devoted  himself  to  the  production  of  his  work  on 
Java,  which  was  begun  in  October  18 16,  and  published 
in  the  following  May.  He  was  interested  in  every 
aspect  of  his  subject,  and  devotes  whole  sections  to 
Javan  ethics,  literature,  poetry,  music,  and  musical  instru- 
ments, drama,  games  of  skill  and  methods  of  hunting, 
besides  the  more  ordinary  matters  of  interest  popula- 
tion, natural  history,  religion,  antiquities,  and  the  military 


FOREIGN  TRAVEL  253 

system.  At  the  end  of  the  second  volume  a  hundred 
and  fifty  pages  are  given  up  to  the  comparative  vocabu- 
laries of  Java  and  the  neighbouring  islands,  and  the 
whole  is  a  unique  monument  erected  by  a  great  ruler  to 
those  over  whom  he  rules,  and,  incidentally,  to  his  own 
honour.  Of  his  subsequent  career,  his  interesting  dis- 
coveries in  natural  history  and  his  early  death  this  is 
no  place  to  speak,  but  the  writer  of  the  Life  in  the 
Dictionary  of  National  Biography  does  not  exaggerate 
when  he  calls  him  "  one  of  the  first  authorities  on  all 
matters,  scientific,  historical,  or  philological  connected 
with  the  eastern  seas,"  the  maritime  supremacy  of  which 
he  undoubtedly  won  for  England.  His  other  publica- 
tions are  unimportant  pamphlets,  but  the  History  of 
Java  stands  very  high  in  its  own  class,  and  the  aquatint 
plates  are  full  of  interest,  though  they  are,  unfortunately, 
not  signed. 

Something  has  already  been  said  of  Hodges'  work 
as  draughtsman  to  the  second  expedition  of  Captain 
Cook ;  the  draughtsman  to  the  third  and  last  expedition 
was  John  Webber  (1750?- 1793),  the  son  of  a  Swiss 
sculptor  who  had  settled  in  England  and  anglicised 
his  name.  James  was  educated  as  a  landscape  painter, 
but  a  portrait  of  his  brother,  exhibited  by  him  in  the 
Royal  Academy  of  1776,  procured  him  his  appoint- 
ment, and  he  sailed  with  Cook  to  the  South  Seas.  He 
returned  in  1780,  having  witnessed  the  death  of  his 
leader,  and  for  some  time  the  Admiralty  employed  him 
in  making  finished  drawings  from  his  sketches  for  the 
official  account  of  the  expedition  published  in  1784.  He 
then  published,  on  his   own  account,   through  Boydell, 


254  HISTORY  OF  AQUATINT 

sixteen  views  of  places  he  had  visited  with  Captain 
Cook,  engraved  and  coloured  by  himself.  He  painted 
a  famous  picture  of  the  death  of  Cook  which  was 
engraved  by  Boyne  and  Bartolozzi,  and  he  also  engraved 
his  own  portrait  of  the  captain,  which  is  now  in  the 
National  Portrait  Gallery.  How  great  an  impression  he 
produced  on  his  contemporaries  may  be  gathered  from 
the  Diary  of  Fanny  Burney,  who  twice  refers  to  him 
(vol.  i.  p.  466;  vol.  V.  p.  19,  ed.  1905).  Under  March 
25th  1 78 1,  she  writes  :  '*  We  went  to  Mr  Webber's,  to  see 
his  South  Sea  drawings.  .  .  .  They  are  extremely  well 
worth  seeing  ;  they  consist  of  views  of  the  country  of 
Otaheite,  New  Zealand,  New  Amsterdam,  Kamschatka, 
and  parts  of  China ;  and  portraits  of  the  inhabitants 
done  from  life."  Ten  years  later,  when  staying  in 
Devonshire,  she  was  reminded  by  the  local  cockle 
gatherers  of  the  drawings  of  Webber  from  the  South 
Sea  Islanders,  "women  scarce  clothed  at  all,  with  feet 
and  legs  entirely  naked,  straw  bonnets  of  uncouth  shapes 
tied  on  their  heads,  a  sort  of  man's  jacket  on  their 
bodies,  and  their  short  coats  pinned  up  in  the  form  of 
trousers,  very  succinct !  " 

Turning  from  the  South  Seas  to  Australia,  we  find 
that  only  one  important  book  with  aquatint  illustrations 
appears  to  have  been  issued.  This  is  Lycett's  Views  in 
Australia  (1824),  a  series  of  fifty  plates,  coloured  and 
uncoloured,  making  a  not  unsuccessful  attempt  to 
reproduce  some  of  the  more  remarkable  features  of 
Australian  scenery.  The  descriptive  letterpress  is  of 
considerable  historical  value. 

Illustrated   books   on   North  America  are  curiously 


FOREIGN  TRAVEL  255 

few  in  the  period  with  which  we  deal.  By  far  the  most 
important  is  Heriot's  Travels  through  the  Canadas^  two 
bulky  volumes  interesting  for  their  aquatints  by  Stadler 
and  Lewis  after  Heriot,  and  for  the  author's  first-hand 
knowledge  of  his  subject,  gained  during  many  years' 
experience  as  Deputy  Postmaster-General  of  North 
America.  The  most  important  section  of  his  book  is 
the  Comparative  View  of  the  Manners  and  Customs  of 
several  of  the  Indian  Nations  of  North  and  South 
America.  As  an  artist,  however,  Heriot  falls  lament- 
ably short. 

A  number  of  books  on  the  West  Indies  showed  the 
public  interest  in  the  burning  question  of  the  slave 
trade.  James  Hakewill  (1778- 1843),  originally  an  archi- 
tect, produced  some  fine  aquatints  of  Jamaica,  as  did 
William  Clark  of  Antigua ;  the  plates  in  Johnson 
Fielding's  Views  in  the  West  Indies  are  poor,  but  the 
book  contains  an  interesting  and  impartial  discussion  of 
the  slave  question. 

South  America  inspired  a  larger  number  of  writers. 
The  fournal  of  a  Residence  in  Chile  (1824)  2ind  Journal 
of  a  Voyage  to  Brazil  (1824)  of  Maria  Graham,  Lady 
Callcott,  have  been  already  referred  to  ;  the  latter  country 
also  supplied  Koster  and  Mathison  with  literary  material. 
The  southern  republics  were  described  in  several  books, 
while  in  polar  regions  English  explorers  were  making 
voyages  of  discovery,  the  accounts  of  which  are  still 
classics.  In  18 19  Captain  Ross  published  his  Voyage  of 
Discovery  to  Baffin  s  Bay,  Franklin  his  Journals  of 
Two  Voyages  for  the  Discovery  of  a  North-  West  Passage 
in    1 82 1,  and  Parry  his  Journey  to  the   Shores  of  the 


256  HISTORY  OF  AQUATINT 

Polar  Seas  in  1823  ;  all  three  works  were  illustrated  in 
aquatint. 

Perhaps  the  most  interesting  of  the  books  dealing 
with  America  is  the  Six  Months'  Residence  and  Travels 
in  Mexico  (1824),  of  William  Bullock,  a  traveller  and 
naturalist  who,  while  in  business  as  a  goldsmith  and 
jeweller  at  Liverpool,  showed  his  interest  in  foreign 
travel  by  making  a  collection  of  objects  brought  by 
Captain  Cook  from  the  South  Seas.  In  18 12  he  came 
to  London  and  established  it,  much  enlarged  from  his 
own  antiquarian  researches,  in  the  Egyptian  Hall,  then 
just  built  and  known  as  the  London  Museum.  It  became 
one  of  the  most  popular  exhibitions  in  London  until  its 
dispersal  by  auction  in  1819,  and  was  recognised  by  men 
of  science  also,  a  sea  eagle  being  presented  by  Sir  Joseph 
Banks  to  Mr  Bullock's  Museum,  22  Piccadilly.^  In  1822, 
as  we  learn  from  two  large  aquatints  by  Rowlandson  now 
in  the  Print  Room  of  the  British  Museum,  he  held  an  ex- 
hibition of  Laplanders  which  appears  to  have  been  very 
popular,  and  in  the  same  year  he  went  to  Mexico,  where  he 
was  aided  in  his  researches  by  the  Mexican  Government, 
and  returned  to  England  laden  with  valuable  curiosities. 
He  then  opened  a  third  exhibition  in  the  Egyptian  Hall 
called  *  Modern  Mexico,'  very  much  of  the  type  to  which 
we  are  accustomed  to-day,  but  a  great  novelty  at  the 
time,  with  models  of  the  scenery  and  specimens  of  the 
arts  and  industries,  minerals  and  natural  history  of  the 
country.  In  1824  he  published  his  book  on  Mexico, 
illustrated  chiefly  from  his  own  drawings ;  went  to 
Mexico    again    in    1827,    and    returned    through    the 

*  Times ^  March  26,  1810, 


FOREIGN  TRAVEL  257 

States  in  the  same  year,  a  journey  that  g^ave  him  the 
materials  for  his  second  book,  a  Sketch  of  a  Journey 
through  the  Western  States  of  North  America,  not 
illustrated  in  aquatint  and  therefore  foreign  to  our 
purpose. 

One  other  book  on  America  calls  for  mention  here, 
the  Mexico  in  i82y  of  H.  G.  Ward,  chargd  d'affaires 
in  that  country  from  1825-7.  Vol.  i.  has  thirteen  aqua- 
tints by  J.  Clark,  and  two  lithographs ;  vol.  ii.,  five 
aquatints  and  one  lithograph,  all  after  drawings  by  Mrs 
Ward.  The  presence  of  lithograph  in  conjunction  with 
aquatint  gives  an  excellent  opportunity  for  showing  the 
superiority  of  aquatint  as  a  basis  for  hand  colour  work. 

This  brief  account  of  the  English  books  of  travel 
illustrated  by  a  single  process  may  give  some  idea  of  the 
extent  of  the  whole  literature  of  the  subject  during  the 
closing  years  of  the  eighteenth  century  and  the  beginning 
of  the  nineteenth.  Its  effect  has  been  lasting,  breaking 
down,  once  and  for  all,  the  insularity  of  England  and 
lessening  her  national  isolation.  The  growth  of  the 
cosmopolitan  spirit  was  checked,  not  destroyed  by  the 
outbreak  of  the  French  Revolution  ;  the  effects  of  social 
intercourse  proved  stronger  than  political  hatred ;  litera- 
ture prevailed  over  caricature.  Frenchmen  ceased  to 
live  on  frogs.  Englishmen  to  sell  their  wives,  and  the 
change  was  largely  due  to  the  silent  influence  of  illus- 
trated books,  which  reflected  fact  instead  of  fiction,  and 
showed  as  in  a  glass  the  life  and  manners  of  other 
nations. 


CHAPTER  X 

ENGLISH   TOPOGRAPHY 

Although  as  early  as  1739  Gray  had  in  one  famous 
sentence  on  the  Grande  Chartreuse^  discovered  and 
described  the  picturesque,  in  the  matter  of  EngHsh 
topography  no  student  can  afford  to  disregard  the 
*  picturesque '  literature  of  William  Gilpin  (1724-1804), 
poor  as  the  aquatint  illustrations  in  them  mostly  are. 
The  son  of  an  army  captain  and  elder  brother  of  Sawrey 
Gilpin,  the  animal  painter,  he  began  and  ended  his  career 
in  the  Church,  though  for  some  years  after  1754  he  kept 
a  school  at  Cheam,  which  he  managed  on  principles  much 
in  advance  of  his  time.  It  was  during  the  summer  vaca- 
tions of  this  period  that  he  made  the  sketching  tours 
which,  in  their  published  form,  constitute  his  real  title  to 
fame,  though  afterwards  severely  satirised  by  Combe  in 
Dr  Syntax.  He  had  already  made  a  beginning  in 
literature  by  his  Life  of  Bernard  Gilpin  (1753),  which 
he  wrote  to  pay  off  his  debts  at  the  University,  but  in 
the  later  books,  many  of  which  ran  into  five  editions, 
he  may  be  said  to  have  invented  the  art  of  picturesque 
travel  and  to  have  shown  the  landscape  painter  how  to 
look  at  Nature.  His  attitude  towards  her  was,  it  is  true, 
of  a  self-conscious  character,  but,  although  his  reflections 

*  "  Not  a  precipice,  not  a  torrent,  not  a  cliff,  but  is  pregnant  with  religion 
and  poetry."     (Letter  to  Richard  West,  November  30th,  1739.) 
•58 


ENGLISH  TOPOGRAPHY  259 

are  often  too  ingenious,  he  was  her  real  and  tranquil 
lover,  and  his  books  are  more  free  from  false  philosophy 
than  similar,  writings  of  the  time.  A  talent  for  drawing 
seems  to  have  been  in  the  family ;  his  father  was  a 
good  draughtsman,  his  brother  Sawrey  a  very  fine 
animal  painter,  especially  of  horses,  and  his  own  pencil 
was  as  facile  as  his  pen. 

We  are  sometimes  inclined  to  think  that  the  making 
of  many  books  is  a  special  characteristic  of  our  own 
time,  but  it  sinks  into  insignificance  by  comparison  with 
the  age  that  produced  Gilpin,  Combe,  and  Pyne.  The 
first,  indeed,  was  a  most  miscellaneous  writer,  produc- 
ing many  works  of  a  religious  and  educational  character, 
as  well  as  a  series  of  biographies  of  divines.  But  it  is 
by  his  works  on  picturesque  beauty  that  he  is  now  best 
remembered,  perhaps  also  by  an  Essay  on  Prints^  the 
fifth  edition  of  which  appeared  in  1802.  His  brother 
Sawrey  etched  a  set  of  drawings  for  his  Remarks  on 
Forest  Scenery  ;  the  rest  of  his  works,  except  the  Essay, 
are  illustrated  with  aquatint  engravings,  poor  in  character 
and  washed  over  with  a  brown  or  yellow  tone  which 
gives  them  a  faded  and  sickly  appearance.^  The  popu- 
larity of  the  picturesque  tours  spread  to  France  and 
Germany,  and  some  of  them  were  brought  out  at  Breslau 
in  1 800  with  aquatints  superior  to  those  in  the  originals. 

In  1 777  Gilpin  was  presented  to  the  Vicarage  of  Boldre 
in  the  New  Forest,  where  he  spent  the  remainder  of 
his  life  in  the  zealous  discharge  of  his  duties  as  parish 
priest.    As  his  health  declined  he  had  the  assistance  of  a 

*  See  Chapter  II.,  p.  31.  In  Appendix  A  Gilpin's  plates  are  described  as 
'tinted,'  that  being  the  contemporary  name  applied  to  them,  and  they 
cannot  be  classed,  strictly  speaking,  among  the  plain  or  coloured. 


26o  HISTORY  OF  AQUATINT 

curate,  Richard  Warner,  himself  the  author  of  a  Tour,  in 
whose  Literary  Recollections  there  is  a  pleasant  account 
of  this  part  of  Gilpin's  life.  In  1798  he  sold  his  original 
drawings,  and  with  the  ;!^i200  so  obtained  endowed  the 
school  he  had  built  at  Boldre.  A  further  sale  after  his 
death  realised  ^1600,  and  this,  together  with  the  pro- 
ceeds of  all  his  unpublished  works,  was  vested  in  trustees 
according  to  his  directions  for  the  benefit  of  the  school. 

It  is  difficult  for  this  generation  to  grasp  the  full 
importance  to  his  contemporaries  of  Gilpin's  aesthetic 
gospel.  The  crudity  of  his  work,  more  obvious  than  its 
originality,  is  apt  to  suggest  a  sham  enthusiasm  expressed 
in  the  medium  of  inferior  art,  but  some  of  the  credit 
usually  assigned  to  the  Lyrical  Ballads  should  in  truth 
be  given  to  the  man  who,  when  Wordsworth  was  a  boy 
of  twelve,  had  by  precept  and  example  begun  a  return 
to  nature  in  a  truer  sense  than  Rousseau's.  How  it 
affected  his  contemporaries  may  be  seen  from  the  Diary 
of  Fanny  Burney.  In  1786,  just  after  receiving  her 
appointment  at  Court,  Fanny  Burney  wrote  of  "  the 
most  pleasant  hour  of  the  day,"  her  breakfast  time,  "  I 
have  a  book  for  my  companion,  and  I  allow  myself  an 
hour  for  it.  My  present  book  is  Gilpin's  description  of 
the  Lakes  of  Cumber  land  and  Westmoreland.  Mrs 
Delany  has  lent  it  me.  It  is  the  most  picturesque  read- 
ing I  ever  met  with  :  it  shows  me  landscapes  of  every 
sort,  with  tints  so  bright  and  lively,  I  forget  I  am  but 
reading,  and  fancy  I  see  them  before  me,  coloured  by 
the  hand  of  Nature."  For  those  who  had  ears  to  hear, 
Gilpin  was  indeed  the  herald,  not  of  Wordsworth  only, 
but  of  Ruskin. 


ENGLISH  TOPOGRAPHY  261 

We  have  now  to  turn  to  an  important  group  of 
engravers  whose  efforts  were  directed  to  the  scenery  and 
architecture  of  their  own  country,  and  in  whose  hands 
the  practice  of  aquatint  engraving  reached  its  highest 
level.  Thomas  Malton,  an  architectural  draughtsman, 
published  in  1792  A  Picturesque  Tour  through  the  Cities 
of  London  and  Westminster^  which  is  one  of  the  earliest 
books  on  London  illustrated  in  aquatint.  His  father, 
Thomas  Malton  senior,  (i 726-1801),  is  said  to  have  kept 
an  upholsterer's  shop  in  the  Strand,  but  it  can  only  have 
been  as  an  adjunct  to  his  career  as  an  artist,  for  he  is 
known  to  have  exhibited  architectural  drawings  at  the 
Free  Society  of  Artists  in  1761,  the  Incorporated  Society 
of  Artists  in  1766  and  1768,  and  from  1772  onwards  at 
the  Royal  Academy.  He  was  also  a  teacher  of  geometry 
and  perspective,  and  published  a  treatise  on  that  subject 
in  which  the  diagrams  are  aquatinted.  Owing  apparently 
to  pecuniary  troubles,  he  emigrated  to  Dublin,  where  he 
obtained  further  distinction  as  a  lecturer,  and  where  he 
died  in  1801.  He  son  Thomas  (1784- 1804)  was  ap- 
prenticed to  Gandon  the  architect,  who  had  designed 
many  of  the  chief  buildings  in  Dublin,  but  after  three 
years  in  his  office  seems  to  have  been  dismissed  for  some 
irregularity.  The  younger  Malton's  talents  were  limited 
in  scope,  and  though  he  made  some  attempts  in  land- 
scape work,  it  is  as  a  draughtsman  of  streets  and  cities 
that  he  made  his  mark.  His  drawings  are  in  the  tinted 
manner  of  his  time,  and  were  most  appropriately 
rendered  in  aquatint. 

The  groups  of  figures  often  introduced  in  Malton's 
street  views  are  said  to  have  been  in  part  the  work  of 


262  HISTORY  OF  AQUATINT 

Francis  Wheatley,  an  artist  of  great  versatility.  He 
practised  both  as  an  oil  and  water-colour  painter,  and 
drew  figures  as  well  as  landscape,  and  had  once  per- 
formed a  similar  office  for  Sandby,  but  while  the  figures 
in  Sandby's  work  are  full  of  life  and  arrest  the  eye, 
those  in  Malton's  streets  are  formal  and  conventional  in 
movement,  and  little  calculated  to  detract  from  the 
importance  of  the  architectual  subject.  Malton  was 
employed  as  a  scene  painter  at  Covent  Garden  ;  as  early 
as  1774  he  had  received  a  premium  from  the  Society  of 
Arts,  while  in  1783  the  Academy  awarded  him  the  gold 
medal  for  a  design  for  a  theatre.  From  1783-89  he  lived 
in  Conduit  Street,  and  at  the  evening  drawing  class  held 
there  received  as  pupils  Girtin  and  J.  M.  W.  Turner, 
then  a  lad  brought  by  his  father  to  study  perspective  ;  in 
after  life  Turner  would  often  say,  "  My  real  master  was 
Tom  Malton."  A  brief  residence  at  Bath  in  1780  led  to 
the  production  of  some  large  aquatints  of  that  city, 
Malton  being  one  of  the  earliest  artists  to  make  use  of 
this  process.  In  1792  was  published  his  most  important 
work,  A  Picturesque  Tour  through  the  Cities  of  London 
and  Westminster,  with  a  hundred  aquatint  plates.  These 
are  in  sepia,  but  a  later  work,  Picturesque  Views  of  the 
City  of  Oxford,  has  twenty-four  delicately  coloured  plates. 
James  Malton,  a  brother  of  Thomas,  who  died  in 
1803,  went  with  his  father  to  Ireland,  and  like  him 
became  a  professor  of  geometry  and  perspective.  He 
produced  some  fine  tinted  architectural  drawings,  and 
has  been  already  alluded  to  as  having  contributed  two 
books  to  the  demand  for  works  on  cottage  architecture, 
as  well  as  one  of  the  earliest  drawing-books.     His  best 


ENGLISH  TOPOGRAPHY  263 

illustrated  work,  however,  is  Picturesque  and  Descriptive 
Views  of  the  City  of  Dublin,  which  appeared  shortly- 
after  his  brother's  Views  of  London. 

The  defect  of  these  early  draughtsmen  was  a  want  of 
imaginative  atmosphere ;  the  difference  between  their 
work  and  that  of  later  artists  is  something  of  the 
difference  between  an  architectural  elevation  and  the 
same  building  suffused  with  the  poetry  of  the  past  as  it 
presents  itself  to  the  inner  as  well  as  the  outer  eye.  At 
the  same  time  there  is  a  luminousness  about  the  low 
key  of  colour  that  they  used,  with  its  foundation  of  grey 
tint,  that  is  absent  from  much  of  the  later  work  in  which 
brighter  colours  were  used  direct  upon  white  paper. 

Besides  the  Maltons  and  Daniells,  another  family, 
that  of  the  Havells,  was  likewise  associated  with 
the  engraving  of  aquatint  at  its  best.  William  Havell, 
the  father  of  six  daughters  and  eight  sons,  many  of 
whom  took  to  art  as  a  profession,  was  a  drawing-master 
at  Reading,  who  had  to  supplement  an  insufficient 
income  by  keeping  a  small  shop.  The  somewhat  vague 
and  complicated  relationship  of  the  different  members 
of  the  family  is  difficult  to  disentangle.  The  most 
distinguished  was  the  third  son,  William,  a  landscape 
painter  of  great  charm,  whose  drawings  lose  nothing 
by  comparison  with  more  modern  work  on  the  same 
lines.  He  devoted  much  of  his  time  first  to  Welsh 
scenery  afterwards  to  that  of  the  Lakes.  Contemporary 
criticism  thus  appraises  his  work  : — "  Havell  however 
was  not  contented  with  an  occasional  trip  from  London, 
to  snatch  a  new  hint,  by  hasty  sketching  from  real 
scenes,  to  work  into  pictures  at  his  return,  as  many  had 


264  HISTORY  OF  AQUATINT 

done :  he  wisely  determined  to  remove  to  some  pic- 
turesque spot,  where  he  might  sojourn  awhile,  and  at 
leisure  contemplate  nature  under  the  changes  of  each 
season,  and  attired  in  all  the  varieties  of  her  rich 
wardrobe.  He  selected  the  beautiful  region  of  the 
Lakes  in  Cumberland,  and  took  up  his  quarters  in  a 
little  town  in  the  very  bosom  of  romantic  nature,  sur- 
rounded by  mountains,  rocks,  woods  and  waterfalls,  where 
the  incidents  of  sun  and  cloud,  where  gilded  morning 
mists  and  sober  evening  shades,  are  exhibited  in  all  the 
combinations  of  pictoral  and  poetic  effect,  such  as  the 
imagination  might  vainly  attempt  to  conceive.  Here  he 
studied  for  two  years,  when  he  returned  to  London  with 
rich  stores  of  lake  and  mountain  scenery,  from  which, 
for  several  reasons,  he  enriched  the  exhibition,  added  to 
his  own  fame,  and  contributed  to  raise  the  general 
reputation  of  his  department  of  art.  We  remember 
among  these  Cumberland  views,  some  which  were  re- 
markable for  depth  and  harmony  of  effect,  and  nearer 
to  reality  than  the  compositions  of  any  of  his  compeers. 
Indeed,  richness  and  intensity  of  colouring  in  some  of 
his  happiest  works,  suffered  but  little  in  comparison  with 
paintings  in  oil ;  a  consequence  that  resulted  from  his 
continual  practice  of  painting  his  effects  on  the  spot."^ 
He  executed  all  the  drawings  for  A  Series  of  Picturesque 
Views  of  the  River  Thames,  and  six  of  those  for  Pic- 
turesque Views  of  Noblemen  s  and  Gentlemen  s  Seats. 

In  1816  William  was  attached  as  'Artist'  to  Lord 
Amherst's  embassy  to  China  :  but  he  seems  to  have 
left   the  Alceste  on  account  of  some  disagreement  with 

^  Somerset  House  Gazette^  i.  193. 


ENGLISH  TOPOGRAPHY  265 

one  of  the  officers,  and  the  narrative  of  the  voyage  by 
Dr  John  M'Leod,  the  ship's  surgeon,  is  not  illustrated 
from  his  work.  In  the  other  account  of  the  same 
mission  by  Dr  Clarke  Abel,  entitled  Narrative  of  a 
Journey  in  the  Interior  of  China^  one  of  the  coloured 
aquatints  by  T.  Fielding  is  "  drawn  from  a  sketch  by 
W.  Havell,  Esq."  He  is  hardly  mentioned  in  connec- 
tion with  the  mission,  and  on  his  return  from  China 
went  to  India,  where  he  settled  for  some  years  in 
Burmah,  only  leaving  the  country  on  the  outbreak  of 
the  Burmese  War.  There  is  a  pleasant  account  of  him, 
not  however  free  from  errors,  in  Redgrave's  Century  of 
Painters,  and  an  even  more  attractive  one  in  the  Memoir 
of  T.  Uwins,  in  which  that  genial  artist,  whom  he  joined 
in  Italy  on  his  way  home,  gives  generous  criticisms  of 
the  special  quality  of  Havell's  art. 

But  the  engravers  of  the  family  were  Daniel  and  his 
son  Robert,  who  inaugurated  the  long  series  of  indepen- 
dent Havell  publications  in  18 10  by  aquatinting  the  plates 
to  the  Views  of  the  Thames,  after  William's  drawings. 
Father  and  son  worked  jointly  for  some  time,  but  at  one 
time  Robert  set  up  for  himself  in  Oxford  Street,  opposite 
the  Pantheon,  in  a  '  Zoological  Gallery,'  where  he  and  his 
son  Robert  sold  natural-history  specimens  and  published 
various  books  until  the  year  1828,  when  the  partner- 
ship was  dissolved,  and  the  younger  Robert  went  to 
America. 

Both  the  Views  of  the  Thames  and  the  Views  of 
Noblemen  s  Seats  are  very  fine  books,  especially  the 
former,  in  which  perhaps  Havell  reaches  the  highest 
watermark  of  his  attainment  as  an  aquatint  engraver. 


266  HISTORY  OF  AQUATINT 

Daniel  Havell's  most  important  separate  work  was 
done  for  Brayley's  Historical  and  Descriptive  Accounts 
of  the  Theatres  of  London  (1826).  The  date  of  his  death, 
like  that  of  his  birth,  is  unknown. 

The  most  important  art  publishers  and  dealers  in 
our  history  are  the  two  Boy  dells,  John  and  his  nephew 
Josiah,    who,    though    their    munificence    was    chiefly 
directed  towards  painters  and  line  engravers,  also  issued 
a  few  fine  books  with  coloured  aquatint  plates,  notably 
the   History    of  the    River    Thames.      John     Boydell 
(17 1 9- 1 804)  was  the  son  of  a  land-surveyor  in   Shrop- 
shire,   and    brought    up    to    follow    his    father's    pro- 
fession,   which,    at    the    age   of    about   twenty-one,    he 
abandoned  for   art.      He    walked   to    London,   became 
a    student    in    the    famous    Academy   in    St    Martin's 
Lane,  and   apprenticed   himself  to  W.    H.   Toms,   the 
engraver.     He  soon  began  to  publish  small  landscapes 
on  his  own  account,  and  for  want  of  proper  printsellers, 
exhibited  them   in   the  windows  of  toy  shops.      They 
were  sold  at  six  for  sixpence,  and  the  earliest  known 
date  on  them  is   1744.      He  continued  practising  as  an 
engraver  till    1755,  extending  his  activities  to  different 
parts  of  England  and  Wales.     He  says  himself  in  the 
Preface  to  his  collection  of  views,  republished  in   1790, 
that  in  the  early  days  of  his  apprenticeship  there  were 
no  engravers  of  any  eminence  in  this  country.     In  ten 
years  from   the   date   on    his   first   print,    Boydell    had 
by   his    industry   laid    the   foundations   of   his   fortune, 
and  was  able  to  set  up  as  a  printseller.     "  He  was  a 
lucky  wight  to  take  to  print-selling,"  says  a  writer  in  the 
Somerset  House  Gazette,  "and  to  quit  the  profession  of 


ENGLISH  TOPOGRAPHY  267 

art — and  it  was  no  less  fortunate  for  artists  and  the  arts, 
that  he  was  so  indifferent  a  performer — that  he  who 
had  not  genius  enough  to  make  a  sixth-rate  engraver, 
had  wit  enough  to  fill  the  civic  chair ! "  ^ 

The  first  work  of  great  importance  produced  by  him 
was  Woollett's  engraving,  after  Wilson's  Niobe  (1761), 
for  which  he  paid  the  engraver  ;^ioo,  and  to  which  the 
beginning  of  the  vogue  of  English  engravings  on  the 
Continent  is  largely  due.  Before  Boydell's  time  prints 
had  been  chiefly  imported  from  abroad,  but  in  1787 
when  he  went  to  Paris  he  found  his  own  prints  in  the 
shop  -  windows.  The  Death  of  General  Wolfe,  by 
Woollett  after  West,  was  even  more  successful,  and  was 
followed  by  many  others.  In  1782,  Boydell  was  elected 
alderman  ;  three  years  later  he  served  as  sheriff;  and  in 
1790  was  Lord  Mayor.  In  1786  he  embarked  on  the 
great  enterprise  of  his  life,  the  Shakespeare  Gallery,  for 
which  a  total  of  one  hundred  and  seventy  works,  three 
of  them  in  sculpture,  was  eventually  reached.  A  gallery 
was  built  for  their  reception  in  Pall  Mall,  and  the 
"  thrice-munificent  old  commercialist "  ^  became  the  one 
great  instance  in  modern  life  of  the  creation  of  a  nation's 
art,  the  honour  paid  to  English  engraving  on  the  Conti- 
nent being  due  to  the  exertions  and  the  patronage  of  one 
man.  The  engravings  from  the  Gallery  were  published 
in  1802,  but  disaster  was  at  hand.  The  French  Revolu- 
tion having  put  an  end  to  his  foreign  trade,  Boydell  was 
in  such  financial  difficulties  that  in  1804  he  applied  to 
Parliament  for  leave  to  dispose  of  his  property  by 
lottery.       In    the    letter    read    before    the    House    of 

*  Somerset  House  Gazette,  ii.  p.  360. 

R 


268  HISTORY  OF  AQUATINT 

Commons  he  states  that  he  "  had  laid  out  in  promoting 
the  commerce  of  the  fine  arts  in  this  country,  above 
jC 350,000."  Permission  was  granted,  and  all  the  tickets 
were  sold,  which  enabled  him  to  pay  his  debts,  but  he 
died  before  the  lottery  was  drawn.  But  for  his  financial 
troubles,  he  would  have  bequeathed  the  Shakespeare 
Gallery  to  the  nation. 

He  issued  in  all  4432  plates,  which  were  published 
in  forty-eight  folio  volumes,  twenty-six  of  which  were 
occupied  with  the  English  School,  fourteen  with  the 
Italian,  six  with  the  Dutch  and  Flemish,  and  two  with 
the  French  School. 

Boydell  published  but  few  coloured  books,  of  which 
the  two  earliest  are  undoubtedly  the  best.  Repton's 
Sketches  and  Hints  of  Landscape  Gardening  appeared  in 
1794,  as  did  also  the  History  of  the  River  Thames,  with 
text  by  W.  Combe.  It  was  issued  at  ;!^io,  los.,  and  the 
seventy-six  plates  are  all  by  J.  C.  Stadler  after  J. 
Farington,  R.A.  In  1808  he  published  Views  in  the 
South  SeaSy  with  sixteen  plates  drawn  and  engraved  by 
J.  Webber,  R.A.,  draughtsman  to  Captain  James  Cook's 
expedition  on  the  Resolution,  the  original  drawings 
for  which  are  preserved  at  the  Admiralty.  In  1820 
appeared  Boy  dell's  Picturesque  Scenery  of  Norway,  a 
disappointing  book  of  which  the  artist  and  engraver  was 
J.  W.  Edy. 

The  scenery  of  the  river  Thames  afforded  material 
for  several  books,  all  very  attractive  in  their  different 
ways.  Perhaps  the  finest  is  the  Picturesque  Tour  of  the 
River  Thames,  published  by  Ackermann,  the  joint- 
production  of  W.  Westall,  who  executed  nineteen  plates, 


a 
z 


ENGLISH  TOPOGRAPHY  269 

and  S.  Owen,  who  is  responsible  for  two  vignettes  and 
five  plates,  showing  the  open  part  of  the  Thames  from 
Southwark  to  Sheerness.  Like  so  many  of  Ackermann's 
publications  the  book  appeared  in  instalments,  and  was 
completed  in  six  monthly  parts.  Owen's  acquaintance 
with  the  river  was  an  intimate  one,  for  he  had  already 
provided  the  drawings  for  W.  B.  Cooke's  book  on  The 
Thames,  published  in  181 1,  with  83  plates  executed  in 
line.  Fifteen  of  the  engravings  are  by  R.  G.  Reeve,  the 
rest  being  by  C.  Bentley,  J.  Bailey,  and  J.  Fielding.  Two 
tints  are  used  for  the  printing,  notably  a  bright  blue  for 
the  sky,  and  the  aquatint  ground  is  throughout  rather 
thin,  with  the  result  that  the  coloured  impressions  are 
wanting  in  depth.  The  vignettes,  however,  are  very 
beautiful,  and  show  how  especially  suitable  aquatint  is 
for  the  purpose,  rarely  as  it  is  used ;  the  student  will 
in  this  connection  remember  Geissler's  vignettes  to 
Pallas'  Travels  and  their  singular  charm.  The  pro- 
cess of  laying  the  aquatint  ground  enables  the  artist 
to  produce  delicate  gradations  of  tone,  attaining 
the  greatest  strength  where  necessary  and  fading  as 
gradually  away.  Other  excellent  examples  of  aquatint 
vignettes  may  be  seen  in  the  books  illustrated  by  J.  C. 
Nattes. 

The  Preface  to  the  Picturesque  Tour  of  the  River 
Thames  contains  an  interesting  allusion  to  Boydell's 
work  on  the  same  subject :— "  To  the  History  of  the 
Thames,  written  by  the  late  William  Combe,  Esq.,  and 
published  by  Messrs  Boydell,  the  author  acknowledges 
particular  obligations,  but  while  he  attests  the  copious- 
ness and  accuracy  of  the  historical  and  descriptive  details, 


270  HISTORY  OF  AQUATINT 

he  cannot  refrain  from  observing,  that  a  comparison  of 
the  coloured  engravings  in  that  work — splendid  as  it 
professed  to  be — with  those  contained  in  this  volume, 
will  furnish  striking  evidence  of  the  extraordinary  im- 
provements made  during  the  last  thirty  years  in  the 
getting  up,  as  it  is  called,  of  this  kind  of  graphic 
embellishments." 

One  of  the  results  of  the  fashion  for  Panoramas, 
Dioramas,  and  the  like  mechanical  modes  of  procuring 
optical  illusion  was  the  attempt  to  reproduce  them 
pictorially,  several  well-known  artists  devoting  their 
ingenuity  to  this  purpose.  Perhaps  one  of  the  most 
curious,  certainly  the  most  ambitious,  is  a  Panorama  of 
the  Thames,  showing  both  the  banks  with  the  bridges, 
buildings,  county  seats,  villages,  all  named,  executed 
by  J.  Clark  about  1820,  a  coloured  aquatint  8  inches 
deep  by  65  feet  long.  It  was  issued  in  a  folding  case, 
with  a  Description  of  the  most  Rem,arkable  Places. 
Another  was  engraved  by  T.  Sutherland  for  Thomas 
Shew  in  1825,  and  is  entitled  A  Panoramic  View 
of  the  City  of  Rome  and  the  adjoining  Country.  How 
this  was  issued  does  not  appear,  but  it  was  con- 
tained in  an  ingeniously  contrived  box  mounted  on 
a  roller,  so  that  it  worked  through  a  slit  in  the  box, 
the  top  of  which  had  a  kind  of  pocket  for  the  letter- 
press. It  does  not  appear  to  have  been  published 
coloured. 

Samuel  Ireland  (17  ?-i8oo)  was  one  of  the  most 
successful  artists  who  devoted  himself  to  the  career  of 
topographic  print-making.  In  the  ten  years  between 
1790  and  1800  he  brought  out  six  books  of  views,  con- 


ENGLISH  TOPOGRAPHY  271 

taining  in  all  some  two  hundred  and  eighty  plates,  all 
aquatinted  by  himself  after  his  own  drawings.  Originally 
a  Spitalfidds  weaver,  he  began  his  artistic  career  as  a 
copier  of  prints  and  a  dealer  in  them,  and  in  1760  gained 
a  medal  from  the  Society  of  Arts.  In  1 782-84,  he  exhibited 
five  pictures  at  the  Royal  Academy,  and  became  gradu- 
ally known  as  an  ardent  collector  of  books,  pictures,  and 
curiosities.  The  success  of  his  first  book,  A  Picturesque 
Tour  through  Holland,  Brabant,  and  part  of  France 
( 1 790)  encouraged  him  to  other  work  of  the  sort,  and  in 
1792  and  1793  appeared  two  other  books.  Picturesque 
Views  on  the  Rivers  Thames  and  Medway,  and  later 
again  on  the  Avon  (1795)  and  Wye  (1797)  and  (post- 
humously) the  Severn  (1824).  In  1794  appeared  his 
Graphic  Illustrations  of  Hogarth,  consisting  of  unpub- 
lished prints  and  drawings  in  his  own  collection,  with 
text  and  reproductions  by  himself,  in  a  great  variety  of 
processes,  including  a  number  of  fine  aquatints,  a  book 
of  great  value  and  interest,  of  which  a  second  volume 
appeared  in  1799.  At  the  close  of  his  life  he  produced 
two  angry  pamphlets  on  the  question  of  the  Ireland 
forgeries,  the  work  of  his  son  William  Henry  Ireland, 
and  an  Historical  Account  of  the  Inns  of  Court  appeared 
just  after  his  death. 

John  Hassell  (d.  1825),  who  was  mentioned  in  the 
chapter  on  drawing-books,  was  like  Ireland  a  successful 
maker  of  illustrated  guide-books.  The  first  of  these  was 
the  Tour  of  the  Isle  of  Wight  (1790),  with  very  poor 
plates  of  the  tinted  oval  kind  like  those  employed  by 
Gilpin.  The  next  was  the  Picturesque  Guide  to  Bath 
(1793)*  with  sixteen  coloured  aquatints  engraved  like  the 


272  HISTORY  OF  AQUATINT 

last  by  himself,  fourteen  being  from  his  own  drawings, 
one  after  J.  Laporte  and  one  after  J.  C.  Ibbetson,  who 
also  inserted  the  figures  in  eight  of  Hassell's  drawings. 
In  1 817  he  published  Picturesque  Rides  and  Walks  .  .  . 
round  the  British  Metropolis,  illustrated  with  one  hundred 
and  twenty  small  views  of  great  charm  and  delicacy. 
The  sixty  plates  in  vol.  i.  are  all  drawn  and  engraved 
by  Hassell,  ^those  in  vol.  ii.  are  mostly  engraved  by 
D.  Havell  after  Hassell's  drawings.  The  Tour  of  the 
Grand  Junction  (18 19)  has  still  better  plates,  though 
their  colouring  is  somewhat  crude.  This  is  a  book 
of  considerable  interest  now  that  canals  are  no  longer 
what  they  once  were,  the  highways  both  of  commerce 
and  pleasure.  Hassell's  last  published  work.  Excursions 
of  Pleasure  and  Sports  on  the  Thames,  was  published  in 
1823.  He  had  a  large  private  practice  as  drawing 
master,  and  was  an  intimate  friend  of  George  Morland, 
whose  Conway  Castle  he  engraved  in  aquatint.  A 
posthumous  treatise  on  the  Art  of  Etching,  illustrated 
by  himself,  appeared  in   1836. 

Though  William  Westall  (178 1- 1850)  did  a  great  deal 
of  work  for  Ackermann,  and  might,  therefore,  be  fitly 
included  among  his  chief  draughtsmen,  the  output  of 
work  in  his  own  name  is  still  larger  and  entitles  him 
more  fitly  to  notice  among  the  illustrators  of  books  on 
English  scenery.  He  was  the  younger  brother  of 
Richard  Westall,  R.A.,  from  whom  he  learned  drawing, 
and  afterwards  became  a  student  in  the  Academy 
schools.  While  there,  and  at  the  age  of  nineteen,  he 
was  selected  to  accompany  Captain  Flinders  on  his 
voyage    of  Australian    discovery,    taking   the   place    of 


ENGLISH  TOPOGRAPHY  273 

William  Daniell,  who  had  been  appointed  landscape 
draughtsman,  but  who  threw  up  the  engagement  on 
becoming  engaged  to  Westall's  sister. 

After  a  cruise  of  nearly  two  years  the  expedition  was 
wrecked  at  the  outset  of  the  return  voyage,  but  Westall's 
drawings  were  saved,  and  the  shipwrecked  party  were 
picked  up,  after  eight  weeks  on  a  coral  reef,  by  schooners 
sent  by  Captain  Flinders,  who  had  escaped  in  an  open 
boat  to  Port  Jackson.  Westall  was  taken  on  to  China, 
where  he  made  many  sketches  of  the  country.  While 
sailing  thence  to  Bombay  he  witnessed  a  naval  engage- 
ment in  the  Straits  of  Malacca,  and  during  his  stay  in 
India,  he  made  careful  drawings  of  the  cave-temples  of 
Kurlee  and  Elephanta.  He  returned  to  England  in 
1805,  left  again  in  a  few  months  for  Madeira,  and 
eventually  reached  Jamaica.  On  his  return  to  England 
he  was  at  once  employed  by  several  publishers  to 
illustrate  their  work,  in  particular  by  Ackermann,  then 
engaged  on  his  History  of  the  Universities  and  of  the 
Public  Schools.  In  181 1,  Westall  paid  his  first  visit  to 
the  Lake  Country,  and  was  so  taken  with  its  beauty  that 
from  that  year  to  1820  he  spent  a  part  of  every  winter 
there.  He  became  acquainted  with  Southey  and  Words- 
worth, and  it  will  be  seen  from  the  books  under  his 
name  that  his  chief  illustrated  work  was  done  in  connec- 
tion with  that  country.  His  pictures,  publicly  exhibited, 
amounted  to  one  hundred  and  forty-five,  and  with  the 
plates  to  his  various  volumes  prove  him  to  have  been 
a  prolific  draughtsman.  He  was,  as  a  rule,  his  own 
engraver,  and  some  of  his  plates,  notably  those  in  Views 
of  Caves,  are  interesting  examples  of  a  mixed  process. 


274  HISTORY  OF  AQUATINT 

In  some  aquatint  is  used  on  the  top  of  etching,  and  in 
others  the  sky  alone  is  aquatinted. 

Some  of  the  finest  aquatint  plates  in  existence  are 
those  done  from  the  drawings  of  John  Claude  Nattes, 
and  always  catalogued  under  his  name.  Nattes,  born  in 
England  about  1765,  was  a  topographical  draughtsman 
who  travelled  and  made  sketches  for  illustrated  works. 
He  was  one  of  the  foundation  members  of  the  Water 
Colour  Society,  but  in  1807  ^  serious  charge  was  brought 
against  him  to  the  effect  that  a  great  part  of  the  work 
sent  in  by  him  was  not  by  his  own  hand,  and  he  left 
the  Society  in  disgrace.  Besides  the  Views  of  Batk  and 
those  of  Versailles^  Paris,  St  Denis,  both  of  which  are 
well  known  as  fine  and  attractive  books,  there  is  a  very 
rare  work  entitled  Oxford  Delineated ;  a  Graphic  and 
Descriptive  Tour  of  the  University  of  Oxford,  published 
by  J.  Cundee,  of  which  only  two  parts  appeared,  though 
twenty-five  were  advertised.  There  is  a  beautiful  vig- 
nette on  the  title,  and  another  as  tailpiece,  to  Part  I., 
besides  two  plates,  all  aquatinted  by  Merigot,  while 
Part  1 1,  has  one  plate  by  F.  C.  Lewis  after  Pugin.  Had 
it  been  completed  it  must  have  ranked  among  the  finest 
of  publications  with  coloured  plates,  and  it  is  somewhat 
strange  that  it  was  not  proceeded  with,  since  the  other 
books  by  him  appeared  in  the  two  following  years. 

The  two  books  by  J.  T.  Serres  (i 759-1825)  are 
interesting,  though  they  cannot  be  grouped  under  any 
special  class.  The  elder  son  of  Dominic  Serres,  the 
marine  painter  and  intimate  friend  and  neighbour  of 
Paul  Sandby,  he  took  to  his  father's  profession  and  was, 
for  a  time,  drawing-master  to  a  marine  school  at  Chelsea. 


ENGLISH  TOPOGRAPHY  275 

In  1793  he  succeeded  his  father  as  marine  painter  to  the 
king,  and  was  also  appointed  draughtsman  to  the 
Admiralty,  being  employed  in  making  sketches  of  the 
harbours  on  the  enemy's  coast,  for  which  he  had  a 
vessel  placed  at  his  service  and  ;^ioo  a  month.  His 
two  books  are  the  outcome  of  work  undertaken  in  this 
capacity :  the  Little  Sea  Torch  being  a  guide  for  coast- 
ing ships,  and  the  Liber  Nauticus  an  instructor  in  the 
art  of  marine  drawing.  He  contributed  regularly  to 
the  exhibitions  of  the  Royal  Academy  till  1808.  An 
unenviable  title  to  fame  was  his  marriage,  against  the 
wishes  of  his  friends,  with  Miss  Olive  Wilmot,  to  whom 
he  had  given  drawing  lessons.  She  was  the  daughter  of  a 
house  painter  at  Warwick,  but  a  born  adventuress,  calling 
herself  the  Princess  Olive  of  Cumberland,  and  making 
out  that  she  was  the  daughter  of  Henry  Frederick,  Duke 
of  Cumberland,  brother  of  George  HI.  She  practically 
ruined  her  husband  by  her  intrigues  and  her  extrava- 
gance, and  though  a  separation  took  place  in  1804  and 
he  repudiated  her  pretensions,  he  lost  the  patronage  of 
the  king,  was  imprisoned  for  debt,  and  finally  died 
within  the  rules  of  the  King's  Bench  prison. 

Ackermann  wrote  the  short  Preface  introducing 
A  Picturesque  Tour  of  the  English  Lakes :  illustrated 
with  48  Coloured  Views  drawn  by  Messrs  T  H.  A. 
Fielding  and  J.  Walton  during  a  Two  Years  Residence 
among  the  Lakes  (1821).  It  is  a  fine  book,  but  the  plates 
are  somewhat  heavily  tinted,  a  practice  that  character- 
ises most  of  Fielding's  aquatint  work  and  detracts 
from  the  transparency  otherwise  transmitted  by  the 
aquatint  ground.     A  similar  criticism  must  be  passed  on 


276  HISTORY  OF  AQUATINT 

his  British  Castles  and  River  Wye.  There  is  a  great 
deal  of  difference  in  hand  colouring  in  this  respect,  and 
the  '  washers'  probably  followed  the  pattern  given  by  the 
artist.  Theodore  Henry  Adolphus  Fielding  (1781-1851) 
was  the  eldest  son  of  Nathan  Theodore  Fielding  and 
brother  of  Antony  Vandyke  Copley,  Thales,  and  Newton 
Smith  Fielding,  and  like  them  a  water-colour  painter,  as 
well  as  an  engraver  of  note.  As  early  as  1 799,  a  picture 
of  his  was  exhibited  at  the  Royal  Academy.  Being 
appointed  teacher  of  Drawing  and  Perspective  at  the 
East  India  Company's  Military  College,  Addiscombe,  he 
resided  in  that  neighbourhood  until  his  death  in  1851. 
His  most  important  publication  was  Excursion  sur  les 
CStes  et  dans  les  Ports  de  Normande^  with  forty  plates 
after  Bonington,  which  have  not  the  above-named  defect 
of  over-colouring.  He  also  wrote  works  on  painting, 
perspective,  the  principles  on  which  to  judge  the  works 
of  the  Old  Masters,  and  the  method  of  engraving. 

If  interest  in  the  notes  of  English  travellers  abroad  is 
considerable,  the  remarks  of  foreigners  on  England  are 
even  more  entertaining,  and  a  very  amusing  picture  of 
ourselves  and  our  manners  and  customs  may  be  found 
in  the  Journal  of  a  Tour  and  Residence  in  Great  Britain 
during  the  years  18 10  aiid  1811,  by  a  French  Traveller,  L. 
Simond.  He  tells  us  in  the  Notice  that  the  Journal  was 
originally  written  in  English,  though,  at  the  same  time, 
fully  prepared  for  publication  in  France,  and  as  it  could 
not  be  printed  on  the  Continent  at  that  time,  it  was 
decided  to  give  it  as  it  was  written.  The  date  of  its 
publication  is  181 5,  and  the  Note  ends  thus: — "Such 
wonderful  changes  have  taken  place  since  this  journal 


ENGLISH  TOPOGRAPHY  277 

was  written,  that  a  considerable  part  of  the  views  and 
opinions  it  records  are  now  completely  out  of  date. 
Yet  an  account  of  things  as  they  were  at  the  zenith  of 
that  power  which  had  enslaved  the  world,  may  still 
possess  some  interest  and  serve  to  shew  what  resources, 
and  how  much  life  and  strength  remained  in  that  insu- 
lated corner  of  Europe,  to  which  the  Conqueror  was 
seeking  a  ford,  from  the  shores  of  the  Baltic  to  those  of 
Spain  and  Portugal."  Simond,  though  born  in  France, 
had  lived  over  twenty  years  in  America ;  hence  his 
knowledge  of  our  language.  He  was  encouraged  to 
publish  the  memoirs  of  his  journey,  originally  sent  in 
letters  to  his  friends  in  America,  by  the  consideration 
that  no  French  travels  in  England  deserving  of  notice 
had  come  to  his  knowledge.  A  good  deal  of  the  book 
is  taken  up  with  Scotland,  but  perhaps  the  most  amusing 
part  is  that  concerned  with  London  and  its  institutions. 

Simond  had  married  an  English  wife  "  to  whose 
introduction  he  owed,"  he  says,  "a  greater  share  of 
domestic  intimacy  than  foreigners  usually  enjoy  in 
England  or  indeed  in  any  country."  He  had  the  knack 
of  easy  writing,  and  his  digressions  on  the  more  serious 
topics  of  the  constitution,  commerce,  finances  and  politics 
of  the  county  are  full  of  interest  even  at  the  present  day. 
The  illustrations,  after  the  sickly  manner  of  those  in 
Gilpin's  works,  are  very  poor  and  appear  to  be  from  the 
author's  drawings,  being  signed  L.  S.  del.  in  one  corner, 
J.  Clark  dira  in  the  other. 

The  interest  in  Wales,  from  the  point  of  view  of  the 
tourist  a  newly  discovered  country,  showed  itself  in  the 
production  of  numerous  illustrated  books.     It  was  the 


278  HISTORY  OF  AQUATINT 

most  popular  sketching  ground  of  many  of  the  earlier 
water-colour  artists,  taking  precedence  even  of  the 
Lakes,  and  some  among  them,  notably  Varley,  did  the 
major  part  of  their  work  in  that  country.  The  earliest 
book  on  our  list  is  by  a  Welshman,  Peter  Roberts,  rector 
of  Llanarmon,  and  vicar  of  Madeley,  who  was  an  ardent 
student  of  its  history  and  traditions.  The  Cambrian 
Popular  Antiquities  (1815),  an  account  of  the  traditions, 
customs,  and  superstitions  of  Wales,  is  illustrated  by  nine 
plates  by  J.  Havell.  Roberts  published  many  other 
works  on  various  subjects  of  antiquarian  research,  but 
the  Cambrian  Popular  Antiquities  is  his  most  important 
contribution  to  literature. 

The  best,  however,  of  all  the  books  on  Wales  is  the 
Cambria  Depicta  (1806)  of  Edward  Pugh,  the  drawings 
for  which  took  ten  years  to  complete.  In  the  preface  the 
author  speaks  of  the  multiplication  of  illustrations  of  the 
same  scenes  owing  to  the  fact  that  most  travellers,  being 
ignorant  of  the  language  of  the  country,  never  left  the 
frequented  routes,  and  he  claims  that  his  drawings  are  all 
new  to  the  public.  **  The  many  volumes  published  under 
the  appellation  of  '  Tours  through  North  Wales '  have 
invariably  been  found  defective  in  their  description  of 
the  people,  their  manners  and  customs:  nor  is  this 
deficiency  surprising,  when  we  recollect  that  these  de- 
scriptions have  generally  been  undertaken  by  complete 
strangers  to  those  people,  their  manners  and  customs, 
and  who  therefore  could  not  possibly  avoid  numerous 
inaccuracies.  The  confined  route  which  they  prescribed 
to  themselves,  seldom  quitting  the  repeatedly  beaten 
track,  is  another  pregnant  cause  of  their  inadequacy.  .  .  . 


L 


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ENGLISH  TOPOGRAPHY  279 

In  my  choice  of  views  I  have  abandoned  the  common 
practice  of  giving  portraits  of  towns,  castles,  etc.,  which 
have  been  so  often  repeated  that  they  now  fill  every 
portfolio."  The  drawings  are  stated  on  the  title-page  to 
be  by  *  a  native  artist,'  and  there  is  no  other  indication  of 
painter  or  engraver.  The  book  is  a  fine  one,  but  the 
views,  pleasant  and  careful  as  they  are,  lack  originality 
of  treatment. 

But  the  classic  of  aquatint  engraving  applied  to  English 
scenery  is  probably  A  Voyage  round  Great  Britain  .  .  . 
by  Richard  Ayton,  with  a  series  of  views  .  .  .  drawn 
and  engraved  by  William  Daniell,  A.R.A.^  which  ap- 
peared in  eight  volumes  between  18 14  and  1825,  with 
three  hundred  and  eight  plates,  all  drawn  and  engraved 
by  William  Daniell.  Such  a  succession  of  beautiful 
colour  plates  is  scarcely  to  be  found  elsewhere,  and  they 
are  unsurpassed  both  in  delicacy  of  drawing  and  tinting. 
The  voyage,  starting  from  the  Land's  End  and  continu- 
ing by  the  north  coast  of  Cornwall,  was  made  partly  by 
sea  and  partly  by  land,  the  original  intention  to  travel 
principally  by  sea  not  being  found  practicable  on  account 
of  the  dangerous  nature  of  the  coast.  The  Introduction 
states  that  "  While  the  inland  counties  of  England  had 
been  so  hackneyed  by  travellers  and  quartos,  the  coast 
has  hitherto  been  most  unaccountably  neglected,  and  if 
we  except  a  few  fashionable  watering-places,  is  entirely 
unknown  to  the  public.  .  .  .  But  many,  who  would  not 
venture  in  pursuit  of  amusement  out  of  the  latitude  of 
good  inns  and  level  roads,  to  make  paths  for  themselves 
over  rocks  and  crags,  may  still  be  pleased  to  become 
acquainted  at  a  cheaper  rate,  with  the  character  of  their 


28o  HISTORY  OF  AQUATINT 

own  shores,  where  most  conspicuous  for  boldness  and 
picturesque  beauty.  It  is  the  design,  therefore,  of  the 
following  voyage,  minutely  to  describe  the  whole  coast 
round  Great  Britain  ;  not  merely  to  give  plans  and  out- 
lines of  its  well-known  towns,  ports,  and  havens,  but 
to  illustrate  the  grandeur  of  its  natural  scenery,  the 
manners  and  employment  of  people,  and  modes  of  life 
in  its  wildest  parts."  The  third  volume  has  a  Preface 
addressed  to  Sir  Walter  Scott,  in  which  Daniell  acknow- 
ledges the  introductions  and  facilities  given  him.  "  The 
many  acts  of  kindness  and  hospitality  which  cheered  my 
voyage  along  the  western  coast  and  isles  of  Scotland, 
greatly  facilitated  the  attainment  of  its  objects,  and 
almost  converted  it  into  an  excursion  of  pleasure."  One 
would  fain  know  who  was  the  colourist  of  these  beautiful 
plates,  whose  predominant  lines  are  greys,  greens,  and 
blues — a  most  unusual  colour  scheme — with  scarcely  any 
addition  of  warmer  tints.  The  plates,  and  they  are 
numerous,  in  which  sea-birds  circle  about  the  rugged 
cliffs,  are  especially  fine,  and  the  Cornish  and  Devon- 
shire scenes  most  characteristic ;  but  it  is  impossible 
to  make  any  individual  selections  from  such  a  treasure- 
house  of  beauty.  As  an  instance  of  the  poetry  with 
which  Daniell  invested  all  his  treatment  of  nature,  we 
may  point  to  the  plate  of  Ramsgate,  which  those  who 
know  the  place  as  it  now  is  may  well  wish  they  could 
ever  keep  in  mind. 


CHAPTER   XI 

SPORT    AND    NATURAL    HISTORY 

The  section  of  books  on  Sport  illustrated  in  aquatint 
is  a  small  one,  and  if  we  except  those  by  Aiken,  centres 
chiefly  round  the  names  of  Samuel  Howitt  and  Charles 
Turner. 

Orme's  Collection  of  British  Field  Sports,  illustrated 
in  Twenty  beautifully  coloured  engravings  from  designs  by 
S.  Howitt^  published  without  text  in  1807,  is  an  impor- 
tant work.  The  plates  are  very  fine  sporting  subjects,  in 
which  however  Howitt  seems  to  have  succeeded  better 
with  hounds  and  game  than  with  horses  ;  line  and  stipple 
are  occasionally  mixed  with  the  aquatint.  The  name  of 
H.  Merke,  possibly  the  engraver  responsible  for  the  aqua- 
tinting,  appears  on  all  of  them  ;  associated  with  him  are 
T.  Vivares,  J.  Godby,  J.  Clark,  and  W.  M.  Craig.  The 
frontispiece  is  a  most  graceful  design  of  buds,  fruit,  and 
flowers,  with  twenty  small  oval  aquatints  depicting 
various  sports,  in  the  centre  of  which  is  the  title,  the 
larger  part  of  it  also  rendered  in  aquatint. 

The    Oriental  Field  Sports  published  in  the  same 

year,  and  issued  in  twelve  monthly  parts  at  a  guinea 

each,    is  one   of  the   finest    sporting    books   ever    put 

together.    Of  the  forty  coloured  aquatints  all,  except  two 

by  J.  Havell,  are  by  H.  Merke;  there  is  also  a  soft  ground 

etching  by   Vivares.     Every  plate    is  accompanied   by 

381 


282  HISTORY  OF  AQUATINT 

letterpress  describing  the  sport  and  the  customs  that 
belong  to  it,  with  descriptions  of  the  country  where  it 
takes  place ;  but  the  character  of  the  book  is  really  best 
set  forth  in  the  title-page :  Oriental  Field  Sports,  being 
a  complete  detailed  and  accurate  description  of  the  Wild 
Sports  of  the  East,  and  exhibiting  in  a  novel  and  interest- 
ing manner  the  Natural  History  of  the  elephant,  the 
rhinoceros^  the  tiger,  the  leopard,  the  bear,  the  deer,  the 
buffalo,  the  wolf,  the  wild  hog,  the  jackall,  the  wild  dog, 
the  civet,  and  other  undomesticated  animals ;  as  likewise 
the  different  species  of  feathered  game,  fishes  and  serpents^ 
The  whole  interspersed  with  a  variety  of  original,  authentic 
and  curious  anecdotes,  which  render  the  work  replete  with 
information  and  amusement.  The  scenery  gives  a  faithful 
representation  of  that  picturesque  country,  together  with 
the  m,anners  and  customs  of  both  the  native  and  European 
inhabitants.  The  narrative  is  divided  into  forty  heads, 
forming  collectively  a  complete  work,  but  so  arranged  that 
each  part  is  a  detail  of  one  of  the  forty  coloured  engrav- 
ings with  which  the  publication  is  embellished.  The 
whole  taken  from,  the  manuscript  and  designs  of  Captain 
Thomas  Williamson,  who  served  upwards  of  twenty  years 
in  Bengal.  The  Drawings  by  Samuel  Howitt,  made  uni- 
form in  size  and  engraved  by  the  first  artists,  under  the 
direction  of  Edward  Orme. 

The  Preface  declares  that  "it  is  not  merely  to  the 
sportsman  that  this  work  is  addressed.  It  is  offered  to 
the  Public  as  depicting  the  Manners,  Customs,  Scenery 
and  Costume  of  a  territory,  now  intimately  blended 
with  the  British  Empire,  and  of  such  importance  to  its 
welfare,  as  to  annex  a  certain  degree  of  consequence  to 


<     •* 

X     <^ 

«l 

I-.     So 

VI     E 

eS   O 

-    2 


SPORT  AND  NATURAL  HISTORY      283 

every  publication,  that  either  exhibits,  or  professes  to 
impart  a  knowledge  of  whatever  may  hitherto  have 
been  concealed  or  that  remains  unfolded  to  our  view." 

Howitt  also  did  many  of  the  plates  for  the  same 
publisher's  Foreign  Field  Sports,  Fisheries,  Sporting 
Anecdotes,  etc.,  etc.,  from  drawings  by  Messrs  Howitt, 
Atkinson,  Clark,  Manskirch,  etc.  (1807).  No  better  or 
more  exciting  boy's  book  can  be  imagined.  It  contains  one 
hundred  plates  with  a  supplement  devoted  to  New  South 
Wales,  the  drawing  of  the  natives  in  the  latter  being 
exceedingly  spirited ;  the  plates  are  in  pure  aquatint. 
Williamson,  who  wrote  the  text,  does  not  appear  among 
the  artists,  M.  Dubourg  engraving  most  of  the  plates, 
with  Howitt,  Merke  and  Clark  as  his  coadjutors. 
On  some  of  the  plates  there  is  again  a  mixture  of 
line  and  stipple ;  Howitt,  in  fact,  seems  rarely  to 
have  relied  upon  aquatint  alone  in  his  illustrations. 

Samuel  Howitt  (1765?- 182 2)  was  a  country  gentle- 
man and  a  practical  sportsman,  obliged  by  financial  diffi- 
culties to  take  up  art  as  a  profession.  His  early  work 
consisted  of  drawings  in  the  stained  manner,  but  he 
became  a  painter  both  in  oil  and  water-colours  as  well 
as  an  engraver,  usually  choosing  his  subjects  from 
sport  or  natural  history.  He  married  Rowlandson's 
sister,  and  did  some  work  in  the  manner  of  Rowlandson, 
especially  in  caricature. 

Charles  Turner  (1773- 1857),  one  of  the  greatest  of 
our  mezzotint  engravers,  was  the  son  of  a  collector 
of  excise  at  Woodstock,  he  came  to  London  in 
1795,  where  his  earliest  work  was  done  for  Boydell. 
When    in    financial    difficulties    owing   to   his   father's 


284  HISTORY  OF  AQUATINT 

temporary  loss  of  some  valuable  MSS.,  his  mother 
obtained  from  the  Duchess  of  Marlborough,  in 
whose  employment  she  had  once  been,  a  residence  at 
Blenheim,  with  the  charge  of  the  china  closet.  It  was 
in  these  surroundings  that  young  Turner's  love  of  art 
was  fostered,  and  the  picture-gallery  of  Blenheim  Palace 
no  doubt  developed  the  instinct  for  portraiture  that  was 
to  be  the  mainspring  of  his  subsequent  efforts,  for  of  the 
six  hundred  plates  engraved  by  him,  two-thirds  are 
portraits.  He  contributed  some  fine  prints  to  the 
literature  of  sport,  notably  a  set  named  The  Poacher  s 
Progress,  published  in  colours  in  1826  at  ^4,  12s. 
The  British  Museum  possesses  a  complete  collection 
of  his  works,  as  well  as  his  drawing  and  work-book 
from  1798  to  1804,  presented  by  his  granddaughter. 
From  this  we  see  that  he  did  a  great  deal  of  miscellaneous 
engraving,  working  alike  for  publishers  and  on  other 
people's  plates.  In  this  record  too,  there  are  many 
allusions  to  the  prints  that  he  made  for  Edward  Orme's 
Essay  on  Transparent  Prints  ( 1 807),  a  book  dealing  with  a 
special  method  of  using  varnishes  in  order  to  render  trans- 
parent the  paper  employed  for  coloured  p/ints  on  glass. 
This  curious  fashion  of  transparencies  or  glass  paintings 
arose  at  the  end  of  the  seventeenth  century,  and  was 
much  in  vogue  for  windows,  screens,  and  the  like.  They 
were  produced  by  laying  specially  tinted  impressions  on 
glass  and  rubbing  away  the  paper  behind,  leaving  just 
enough  film  to  enable  the  colouring  to  be  put  on  by  hand. 
When  the  Liber  Studiorum  was  first  projected, 
J.  M.  W.  Turner  entrusted  the  first  twenty  numbers  to 
his  namesake,  but  a  quarrel  led  to  a  separation,  though 


SPORT  AND  NATURAL  HISTORY      285 

Charles  later  executed  three  more  plates,  as  well  as  five 
in  the  Rivers  of  England,  becoming  one  of  the  painter's 
closest  friends,  and  a  trustee  under  his  will. 

Turner  practised  all  forms  of  engraving  in  the  course 
of  his  most  laborious  life,  mezzotint,  etching,  stipple,  and 
aquatint.  Among  engravers  in  mezzotint,  he  stands 
alone  in  his  use  of  aquatint  to  enhance  its  transparency. 
The  large  plate  of  The  Shipwreck  {2 2,\  x  32),  after  J.  M.  W. 
Turner,  illustrates  the  blending  of  these  two  methods. 
It  was  the  first  of  Turner's  engravings  to  be  made  from 
an  oil  painting,  and  he  bargained  that  he  was  to  colour 
all  the  impressions.  The  subject  was  aquatinted  by 
Theodore  Fielding  in  1823,  but  in  a  smaller  size 
(i6i  X  22^).  Another  instance  of  Turner's  use  of  aqua- 
tint in  combination  with  mezzotint  is  seen  in  his  illustra- 
tions to  William  Haygarth's  Greece,  a  Poem  (18 14),  in 
which,  in  addition  to  the  mezzotint,  there  is  occasionally 
some  aquatint  over  a  foundation  of  strong  etching.      -    _ 

Among  the  earliest  genuine  sporting  books  are  those 
of  Thomas  Thornton  (1757- 1823),  the  son  of  William 
Thornton  of  Thornville- Royal  in  Yorkshire,  who  raised 
and  commanded  a  troop  of  volunteers  which  marched 
against  the  Young  Pretender,  and  was  colonel  of  the 
West  Riding  Militia,  besides  being  member  for  York. 
Thomas  was  a  most  ardent  sportsman,  and  to  him  is  due 
the  revival  of  falconry.  He  was  also  made  colonel  of  his 
father's  old  regiment,  but  resigned  in  1795.  In  1786  he 
made  his  first  sporting  tour,  going  partly  by  sea  and 
partly  by  land  to  the  Northern  Highlands,  where  he 
spent  his  time  in  hunting,  shooting,  angling,  and  hawking. 
The  record  of  this  expedition,  entitled  A  Sporting  Tour 


286  HISTORY  OF  AQUATINT 

through  the  Northern  Parts  of  England  and  Great  Part 
of  the  Highlands  of  Scotland,  appeared  in  1804,  and 
was  finely  illustrated  with  line  engravings.  In  1802 
he  revisited  France,  which  he  had  known  before  the 
Revolution,  with  the  idea  of  buying  an  estate  there,  but 
the  difficulties  of  naturalisation  and  the  prospect  of  war 
made  him  relinquish  it.  He  kept  a  record  of  this  tour  in 
a  series  of  letters  to  the  Earl  of  Darlington,  which  were 
eventually  handed  over  for  publication  to  an  old  school- 
fellow named  Martyn,  "  who  by  the  fortuitous  occur- 
rences of  life  has  become  much  reduced  in  circumstances 
and  who  received  full  permission  to  dispose  of  the  MS. 
to  his  own  exclusive  advantage." 

After  the  manner  of  the  day,  and  in  marked  contrast 
to  the  brevity  of  the  modern  title,  a  full  description  of 
the  book  is  set  out  in  the  title-page  :  A  Sporting  Tour 
through  various  parts  of  France  in  the  year  1802,  includ- 
ing a  concise  description  of  the  Sporting  establishments, 
mode  of  hunting,  and  other  field-amusements,  as  practised 
in  that  country,  with  general  observations  on  the  Arts, 
Sciences,  Agriculture,  Husbandry  and  Com,merce :  Stric- 
tures on  the  customs  and  manners  of  the  French  People  ; 
with  a  view  of  the  comparative  advantages  of  sporting  in 
France  and  England,  in  a  series  of  letters  to  the  Right 
Hon.  the  Earl  of  Darlington,  to  which  is  prefixed  an 
account  of  French  Wolf  hunting,  by  Colonel  1  hornton  of 
Thornville-Royal,  Yorkshire.  Illustrated  with  upwards 
of  80  correct  and  picturesque  delineations  from,  original 
drawings  from,  nature,  by  Mr  Bryant  and  other 
eminent  Artists.  The  frontispiece  is  a  portrait  in  stipple 
of  Thornton  with  a  falcon,  and  the  illustrations  are  of  a 


SPORT  AND  NATURAL  HISTORY      287 

very  mixed  character  as  regards  process,  woodcuts,  line, 
and  aquatint,  all  being  included.  Some  observations  on 
the  'embellishments'  to  Volume  I.  include  the  following 
remarks,  which  sound  somewhat  strange  in  these  days, 
considering  that  the  route  included  Dieppe,  Rouen, 
Versailles,  Paris,  Orleans,  Fontainebleau,  and  the 
chateaux  on  the  Loire  : — "  It  is  presumed  that  the 
plates  with  which  the  present  work  is  illustrated,  pos- 
sess more  than  ordinary  value ;  not  less  on  account  of 
its  having  been  the  chief  object  of  the  artist  to  make 
faithful  and  correct  copies  from  nature,  than  that  most 
of  the  subjects  are  selected  from  those  parts  of  the 
Continent  which  have  never  before  been  delineated  by 
the  English  draughtsman.  The  peculiar  route  of  the 
author,  differing  so  widely  from  that  of  almost  every 
other  traveller  who  visited  France  during  the  cessation 
of  hostilities  in  the  year  1802,  has  materially  contributed 
to  the  accomplishment  of  this  desirable  end." 

Although  we  gather  from  the  Editor's  Preface  that 
no  French  tour  of  a  sporting  nature  had  issued  from 
the  press,  the  book  was  only  first  translated  into  French 
in  1894,  when  it  appeared  in  the  Revue  Britannique. 
In  1805,  Thornton  sold  his  father's  estate  to  Lord 
Stourton,  whose  name  it  now  bears.  He  seems  to  have 
been  fond  of  France,  for  he  paid  many  visits  there,  at  one 
time  residing  in  the  chateau  de  Chambord,  and  during 
the  latter  years  of  his  life  he  lived  entirely  in  Paris,  where 
he  established  a  weekly  dinner-party  under  the  name  of 
the  Falconer's  Club.  His  portrait  by  Reinagle  is  in 
possession  of  the  Earl  of  Rosebery. 

In  x!cit.  Annual  Register  ior  1805  he  is  described  as 


288  HISTORY  OF  AQUATINT 

"  the  first  sportsman  of  his  day  in  point  of  science,  and 
one  of  the  most  convivial  companions  of  the  festive  board 
that  ever  drained  a  bowl  to  Bacchus."  His  sporting 
instincts  seem  occasionally  to  have  sought  strange  and 
vicarious  outlets,  as  may  be  seen  from  the  following 
account  of  an  incident  related  in  the  same  volume. 
"  In  consequence  of  Mr  Bromford's  declining  to  ride, 
Mrs  Thornton  this  morning  walked  or  rather  cantered 
in  a  most  excellent  style,  over  York  race-course,  accom- 
panied by  Colonel  Thornton,  agreeable  to  the  terms  of 
the  match,  for  four  hogsheads  of  Cote  Roti,  2000  gs.  h. 
ft.,  and  for  600  gs.  p.p.  bet  by  Mrs  T. 

"  Afterwards  commenced  a  match,  in  which  the  above 
lady  was  to  ride  two  miles  against  Mr  Buckle  the  jockey, 
well  known  at  Newmarket,  and  other  places  of  sport,  as 
a  rider  of  the  first  celebrity.  Mrs  Thornton  appeared 
dressed  for  the  contest,  in  a  purple  cap  and  waistcoat, 
nankeen  coloured  skirts,  purple  shoes  and  embroidered 
stockings :  she  was  in  high  health  and  spirits,  and 
seemed  eager  for  the  decision  of  the  match.  Mr  Buckle 
was  dressed  in  a  blue  cap,  with  blue  bodied  jacket  and 
white  sleeves.  Mrs.  Thornton  carried  9  st.  6  lb.,  Mr 
Buckle  1 3  St.  6  lb.  At  half- past  three  they  started  : 
Mrs  Thornton  took  the  lead,  which  she  kept  for  some 
time ;  Mr  Buckle  then  put  in  trial  his  jockeyship,  and 
passed  the  lady,  which  he  kept  for  only  a  few  lengths,  when 
Mrs  Thornton,  by  the  most  excellent,  we  may  truly  say, 
horsemanship,  pushed  forwards,  and  came  in  in  a  style  far 
superior  to  anything  of  the  kind  we  ever  witnessed,  gain- 
ing her  race  by  half  a  neck.  The  manner  of  Mrs  Thorn- 
ton's riding  is  certainly  of  the  first  description,  indeed  her 


SPORT  AND  NATURAL  HISTORY      289 

close  seat  and  perfect  management  of  her  horse,  her  bold 
and  steady  jockeyship,  amazed  one  of  the  most  crowded 
courses  ever  witnessed ;  and,  on  her  winning,  she  was 
hailed  with  the  most  reiterated  shouts  of  congratulation. 
"  Mrs  T.  rode  Louisa,  sister  to  Kill-devil,  by  Pegasus, 
out  of  Nelly  ; — Mr  Buckle  rode  Allegro,  by  Pegasus,  out 
of  Allegranti's  dam."  * 

There  are  very  few  books  on  natural  history  illus- 
trated in  aquatint,  but  these  are,  for  various  reasons,  of 
considerable  interest.  The  earliest  use  of  aquatint  for 
this  class  of  subject  that  I  have  found  is  in  a  book  of 
Charles  Catton,  Animals  drawn  from  Nature,  with 
coloured  plates  in  line  and  aquatint,  all  of  which  are 
covered  with  a  thick  yellow  varnish.  At  the  bottom  of 
each  plate  is  Drawn  from  life  and  engraved  by  Charles 
Catton,  Jun.  No.  7  on  the  Terrace,  Tottenham  Court 
Road,^  and  the  date,  which  is  generally  1 788 ;  on  one, 
however,  it  is  1787,  and  a  few  are  undated. 

Charles  Catton  (i  750-1819)  was  both  a  scenic  painter 
and  topographical  draughtsman,  and  son  of  Charles 
Catton,  coach-painter  to  the  king,  who  had  himself  an 
excellent  knack  of  humorous  design,  and  etched  at  least 
one  plate  of  great  merit,  the  Margate  Packet  (c,  1786), 
which  one  would  like  to  associate  with  Charles  and  Mary 
Lamb  on  the  old  Margate  Hoy,  and  their  "first  sight  of 
the  sea,  co-operating  with  youth,  and  a  sense  of  holidays, 
and  out-of-door  adventure."  J.  T.  Smith,  in  his  Life  of 
Nollekens,  speaking  of  signs  in  general,  states  that  the 
elder  Catton  was  "  in  early  life  a  coach  and  sign-painter  ; 

^  Annual  Register,  1805,  vol.  xlvii.  p,  412. 
Somerset  House  Gazette,  ii.  360. 


290  HISTORY  OF  AQUATINT 

he  painted  a  lion  as  a  sign  for  his  friend  Wright,  a  famous 
coachmaker,  at  that  time  living  in  Long  Acre.  This 
picture,  though  it  has  weathered  many  a  storm,  is  still 
visible  (1828)  at  the  coachmaker's  on  the  west  side  of 
Wells  Street,  Oxford  Street."^  His  son  seems  to  have 
travelled  in  England  and  Scotland,  was  one  of  the  founda- 
tion members  of  the  Royal  Academy,  where  he  exhibited 
thirty-seven  times  between  1776  and  1800,  and  made 
many  drawings  of  animals  and  some  designs  for  Gay's 
Fables.  In  1804  he  emigrated  with  his  family  to  the 
banks  of  the  Hudson,  where  he  died  fifteen  years  later, 
painting  occasionally  to  the  end  of  his  life. 

New  Illustration  of  the  Sexual  System  of  LinnceuSy 
and  the  Temple  of  Flora,  or  Garden  of  Nature^  being 
picturesque^  botanical,  coloured  plates^  of  select  plants^ 
illustrative  of  the  same,  by  R.  J.  Thornton,  a  son 
of  Bonnell  Thornton  of  the  Connoisseur,  and  a  botanical 
and  medical  -yvriter  as  well  as  a  physician  of  mark,  easily 
takes  high  rank  among  the  books  in  this  small  class.  It 
appeared  in  book  form  in  1807,  though  the  date  of  1799 
is  given  on  the  title-page  and  some  of  the  plates,  and 
was  originally  issued  in  parts  at  25s.  each  between  these 
dates.  It  is  a  fine  work,  over  which  Thornton  nearly 
ruined  himself  by  engaging  some  of  the  finest  artists  of 
the  day  to  make  the  original  drawings  for  it,  indeed,  such 
was  his  distress  that  he  applied  to  Parliament,  like  Boydell 
before  him,  for  leave  to  dispose  of  his  works  by  lottery.* 

Of    these   plates    W.    Henderson    designed   fifteen, 

*  Ed.  E.  Gosse,  1895,  P-  5'- 

*  Biographical  Dictionary  of  Living  Authors,  18 16.  It  should  be  said 
the  copy  from  which  the  following  description  is  taken  is  the  complete  copy 
in  the  Library  of  the  British  Museum. 


SPORT  AND  NATURAL  HISTORY      291 

P.  Reinagle  ten,  Pether  and  Hoffman  two,  S.  Edwards,  Sir 
W.  Beechey,  Russell  and  Opie,  and  Thornton  himself  one 
each.  The  aquatint  engravers  employed  were  W.  Ward, 
R.  Earlom,  W.  Drinkwater,  T.  Woolnoth,  Elmes,  Wamer, 
T.  Sutherland,  [F.  C.  ?]  Lewis,  W.  Hopwood,  R.  Cooper, 
T.  Medland,  W.  Dunkarton,  J.  C.  Stadler,  and  J.  Cald- 
wall.*  The  botanical  specimens  are  drawn  and  coloured 
with  conventional  exactness,  but  are  placed  or  grouped 
in  the  drawing  with  an  extraordinary  lack  of  artistic 
effect.  A  spray  of  lilies,  for  example,  will  appear  full 
size  in  the  foreground  of  a  picture  which  is  really  a  distant 
landscape.  The  interest  of  the  book  lies  in  the  mixed 
processes  of  engraving  applied  to  many  of  the  plates. 
Those  by  Earlom  are  practically  in  mezzotint  only, 
printed  in  several  colours  and  finished  by  hand,  but  on 
most  of  the  other  plates  aquatint,  stipple  and  mezzotint 
are  all  employed,  with  a  very  strange  though  rather 
interesting  result.  In  the  somewhat  smaller  edition 
which  appeared  in  18 12  with  a  slightly  different  title,  the 
illustrations  are  not  all  the  same,  and  the  names  of  the 
engravers  are  different.  The  bibliography  of  this  book 
is  exceedingly  complicated,  hardly  two  copies  being  alike. 
Those  who  are  interested  in  this  aspect  of  it  must  be 
referred  to  the  notice  of  Thornton  in  the  Dictionary  of 
National  Biography.  It  is  worthy  of  notice  that  a  later 
venture  of  his,  a  school  edition  of  Virgil's  Pastorals, 
brought  Thornton  into  contact  with  Blake,  who  executed 
his  only  woodcuts  for  the  Doctor's  book ;  Thornton, 
however,  was  only  induced  to  retain  them  by  the  praise 

^  The  other  engravers  employed  by  Thornton  were  Burke,  Kingsbury, 
Mazel,  Bartolozzi,  Ogbume,  Tomkins,  Garden.  [E.  F.]  Burney  designed  one 
of  the  vignettes. 


292  HISTORY  OF  AQUATINT 

of  Lawrence,  Linnell,  and  other  artists,  and  in  the  end 
thought  it  necessary  to  apologise  for  them,  "as  they 
display  less  of  art  than  of  genius,  and  are  much  admired 
by  some  eminent  painters." 

W.  Wood's  Zoography,  or  the  Beauties  of  Nature 
displayed  in  Select  Descriptions  from  the  Animal  and 
Vegetable,  with  Additions  from  the  Mineral  Kingdom 
(1807),  is  a  capital  book  of  natural  history.  The  illustra- 
tions by  William  Daniell  are  all  in  pure  aquatint  without 
the  addition  of  line,  and  are  printed  in  brown.  They  are 
very  good  instances  of  the  applications  of  the  aquatint 
process  to  this  particular  class  of  subject,  the  entire 
absence  of  line  for  purposes  of  definition  proving  once 
for  all  that  the  gradation  of  tone,  if  well  managed,  is 
amply  sufficient  for  the  purpose.  The  same  remarks 
apply  to  W.  Daniell's  other  book.  Interesting  Selections 
from  Animated  Nature  with  Illustrative  Scenery  (1809), 
a  work  of  a  similar  but  superior  character.  Some  of  the 
plates,  notably  those  of  the  Salamander,  the  Goose,  the 
Wild  Swan,  and  the  Flying  Fish,  are  excellent  examples 
of  the  high  lights  that  can  be  obtained  from  an  aquatint 
plate  by  delicate  stopping  out.  The  plates  are  exceed- 
ingly pictorial,  and  justify  the  author's  statement  made 
at  the  beginning.  "  This  volume,  as  the  title  indicates, 
contains  a  miscellaneous  assemblage,  formed  chiefly  from 
animated  nature,  intended  to  present  faithful  and  char- 
acteristic representations  of  such  agreeable  or  interesting 
objects  as  have  been  thought  capable  of  a  picturesque 
illustration.  But  though  the  matter  itself  cannot  have 
the  recommendation  of  novelty,  the  mode  of  displaying 
it,   here  adopted,   is  not  common ;    for  by  placing  the 


SPORT  AND  NATURAL  HISTORY      293 

different  subjects  apparently  in  situations  and  under 
circumstances  where  they  are  usually  seen  in  nature,  a 
new  interest  is  communicated  even  to  familiar  objects, 
and  an  air  of  truth  given  to  all,  much  more  impressive 
than  without  such  local  accompaniments.  In  executing 
this  part  of  his  task,  the  artist  has  availed  himself  of  his 
knowledge  of  foreign  scenery,  acquired  by  a  long  resi- 
dence abroad,  particularly  in  '  oriental  climates.'  " 

The  Oriental  Memoirs  of  James  Forbes  (1749- 18 19) 
contains  some  very  fine  coloured  natural-history  plates. 
The  Memoirs  were  "  selected  and  arranged  from  a  series 
of  familiar  letters  written  during  seventeen  years'  resi- 
dence in  India,  including  observations  on  parts  of  Africa 
and  South  America,  and  a  narrative  of  occurrences  in 
four  India  voyages."  The  views  are  engraved  in  line, 
but  the  plates  of  plants,  birds,  insects,  etc.,  are  in  aqua- 
tint, signed  by  W.  Stoker,  all  being  after  drawings  made 
by  the  author.  Forbes  joined  the  India  Company's 
service  at  the  age  of  sixteen  and  continued  in  it  eighteen 
years.  In  the  Preface  to  this  most  interesting  work,  he 
introduces  it  to  the  public  in  the  following  words: — 
"The  MSS.  from  which  these  volumes  are  compiled 
and  the  drawings  which  illustrate  them,  have  formed  the 
principal  recreation  of  my  life.  The  pursuit  beguiled 
the  monotony  of  four  India  voyages,  cheered  a  solitary 
residence  at  Anjengo  and  Dhuboy,  and  softened  the  long 
period  of  absence  from  my  native  country  :  it  has  since 
mitigated  the  rigour  of  captivity  and  alleviated  domestic 
sorrow.  Drawing  to  me  had  the  same  charm  as  music 
to  the  soul  of  harmony.  In  my  secluded  situation  in 
Gujerat,    I    seemed    to    be    blest   with    another   sense. 


294  HISTORY  OF  AQUATINT 

My  friends  in  India  were  happy  to  enlarge  my  collection  : 
the  sportsman  suspended  his  career  after  royal  game  to 
procure  me  a  curiosity  ;  the  Hindoo  often  brought  a  bird 
or  an  insect  for  delineation,  knowing  it  would  then  regain 
its  liberty ;  and  the  Brahmin  supplied  specimens  of  fruit 
and  flowers  from  his  sacred  enclosures.  I  ndia  was  formerly 
not  the  resort  of  artists  ;  when  there  I  had  little  to  excite 
emulation,  and  no  other  instruction  than  a  few  friendly  hints 
from  Sir  Archibald  Campbell,  who,  during  a  short  residence 
at  Bombay  in  1 768,  encouraged  my  juvenile  pursuits." 

Forbes  is  said  to  have  filled  1 50  folio  volumes  with 
sketches  and  notes  on  the  fauna,  flora,  and  archaeology 
of  India.  While  travelling  on  the  Continent  with  his 
family,  he  reached  Paris  in  1804,  just  at  the  time  of  the 
renewal  of  hostilities  after  the  war,  and  it  was  only 
through  the  intervention  of  Sir  Joseph  Banks,  President  of 
the  Royal  Society,  who  applied  to  Carnot,  then  President 
of  the  Institute,  for  his  release  on  the  ground  of  his 
being  an  antiquary  and  artist,  that  he  was  allowed  to 
return  to  England.  In  1806  he  published  Letters  from 
France,  in  which  he  gives  an  account  of  his  captivity. 
In  1809  his  daughter  married  Marc  Rene  de  Monta- 
lembert,  who,  driven  to  England  by  the  Revolution,  had 
joined  the  English  army.  Their  son,  the  future  historian, 
was  very  early  confided  to  his  grandfather's  care,  as  his 
mother  followed  her  husband's  regiment,  and  henceforth 
Forbes  devoted  himself  to  his  upbringing,  together  with 
the  preparation  of  the  Oriental  Memoirs,  a  manuscript 
copy  of  which  he  expanded  into  42  volumes  by  the  addition 
of  his  original  sketches  for  the  future  use  of  his  grandson. 

The  botanical  works  of  Dawson  Turner  (i 775-1858) 


SPORT  AND  NATURAL  HISTORY      295 

afford  still  another  instance  of  the  wide  range  of  subject 
rendered  with  effect  by  the  aquatint  process.  Turner, 
the  son  of  the  head  of  the  Yarmouth  bank,  inherited  a 
large  fortune  on  his  father's  death,  and  devoted  himself 
to  the  study  of  botany  and  antiquities.  In  181 2  he  per- 
suaded John  Sell  Cotman  to  settle  near  him  in  the  country, 
and  Mrs  Turner  and  her  four  daughters  worked  as  his 
pupils,  subsequently  aiding  Turner  in  the  illustration  of 
some  of  his  antiquarian  works.  It  is,  however,  his 
botanical  books  which  are  illustrated  in  aquatint,  many 
of  the  drawings  for  them  being  made  by  his  son-in-law,  Sir 
William  Jackson  Hooker,  the  Director  of  Kew  Gardens. 
His  great  work,  the  Natural  History  of  Fuci  (1819),  is 
noteworthy  for  the  extreme  delicacy  with  which  the  sea- 
weed forms  are  reproduced.  Turner's  own  copy  of  the 
Muscologice  is  in  the  library  of  the  British  Museum. 

One  of  the  finest  colour-plate  books  in  existence  is 
undoubtedly  George  Brookshaw's  Pomona  Britannica, 
issued  in  1805  i"  thirty  numbers,  atlas  folio,  with 
93  plates  in  mixed  aquatint  and  stipple.^  In  18 17 
another  edition  was  brought  out  in  two  vols.,  elephant 
quarto,  but  the  earlier  issue  is  incomparably  superior. 
Brookshaw's  other  books  were  all  illustrated  in 
stipple  only,  and  are  very  fine  examples  of  coloured 
stipple,  a  process  somewhat  rare  in  book  illustration. 
Mention  has  been  made  of  Patrick  Syme's  book  on 
Flower  Drawing,  with  its  minutely  delicate  outline 
plates ;  Brookshaw's  Treatise  on  Flower  Paintings  or 
every  Lady  her  own  drawing  master  ( 1818),  has 
duplicate  plates  in  colour  and  outline  after  the  manner 

^  Lowndes  gives  the  date  wrongly  as  1812. 


296  HISTORY  OF  AQUATINT 

of  Syme,  and  his  other  two  drawing-books,  Supplement 
to  the  Treatise  on  Flower  Paintings  and  Groups  of 
Flowers,  Fruits,  and  Birds ^  designed  as  a  Companion  to  the 
Treatise  on  Flower  Painting,  appeared  in  the  same  form. 
But  the  most  sumptuous  work  to  which  aquatint 
was  ever  appHed  in  illustration  is  undoubtedly  the  Birds 
of  America,  with  plates  after  original  drawings  by  John 
James  Audubon,  published  between  1827  and  1830. 
The  author  was  a  Fellow  of  the  Royal  Societies  of 
London  and  Edinburgh,  of  the  Linnsean  and  Zoological 
Societies  of  London,  and  a  member  of  the  Natural 
History  Society  of  Paris  and  of  the  Lyceum  of  New 
York.  The  plates,  435  in  number,  measure  36|''x  25I". 
A  very  few  of  the  early  ones,  engraved  by  W.  H.  Lizars 
of  Edinburgh,  are  in  line,  but  aquatint  was  used  in  all 
the  rest.  Each  plate  has  the  name  of  the  bird  in 
English  and  Latin  as  well  as  that  of  the  flower  or  plant 
that  supports  it,  the  latter  being  botanical  specimens  of 
the  most  remarkable  beauty.  It  has  also  on  the  left 
side,  Drawn  from  nature  and  published  by  John  /. 
Audubon,  and  on  the  right  side,  Engraved,  Printed 
and  Coloured,  or  sometimes  only  Printed  and  Coloured 
by  R.  Havell  &  Son,  or  by  R.  Havell,  Sen.,  or  R.  Havell, 
Jun.  The  book  contains  groups  of  birds  and  plants 
from  the  largest  to  the.  smallest,  and  a  more  delicate  use 
of  aquatint  can  never  have  been  made  than  on  some 
of  the  exquisite  reproductions  of  flowering  shrubs  of 
which  the  work  is  full.  As  instances  of  this,  one  may 
mention  the  Long  Sparrow  on  the  Wortleberry,  and  the 
Crested  Titmouse  on  the  Pincis  Strobus,  but  selection 
is   almost   invidious,   and  the   only  drawback   to   one's 


SPORT  AND  NATURAL  HISTORY      297 

pleasure  in  such  a  marvel  of  form  and  colour  is  the  size 
and  weight  of  the  individual  volumes.  It  is  interesting 
to  compare  with  this  book  the  monograph  on  The  Family 
of  the  PsittacidcBy  of  Edward  Lear  who  wrote  the  Book  of 
Nonsense,  perhaps  the  finest  book  of  coloured  litho- 
graphs in  existence,  of  which  Lear  thus  wrote  : — "  It  is 
the  first  complete  volume  of  coloured  drawings  of  birds 
on  so  large  a  scale  published  in  England,  so  far  as  I 
know,  unless  Audubon's  were  previously  engraved."  ^ 

We  have  already  mentioned  Testolini's  Rudiments 
of  Drawing  .  .  .  Flowers,  and  Merigot's  Amateur's 
Portfolio  in  the  chapter  on  Drawing-books  ;  another 
and  very  fine  example  of  the  use  of  aquatint  for  flower 
subjects  is  a  Selection  of  Hexandrian  Plants  belonging 
to  the  natural  orders  of  the  Amaryllis  and  Lily,  by 
Mrs  Bury  of  Liverpool.  The  plates,  which  measure 
i\\"  X  19",  have  the  imprint  engraved,  printed,  and 
coloured  by  R.  Havell ;  there  is  hardly  any  line  in 
them,  the  aquatint  being  of  the  finest  possible  character 
and  the  hand-colouring  as  pure  and  delicate  as  the 
nature  of  the  subject  demanded. 

George  Perry's  Conchology,  or  the  Natural  History  of 
Shells  (181 1)  is  a  very  fine  work,  in  the  illustration  of 
which  aquatint  is  employed  throughout,  with  a  slight 
addition  of  line  or  stipple  for  the  more  delicate  definition. 
The  plates  were  engraved  and  coloured  after  the  original 
drawings  by  John  Clarke,  and  are  of  great  beauty.  Apart 
from  this  fact,  the  book  is  a  noteworthy  example  of  the 
application  of  aquatint  to  another  and  distinct  class  of 
Nature-work  from  those  already  mentioned. 

*  Letters  of  Edward  Lear,  ed.  by  Lady  Strachey,  1907,  p.  xxviii. 


CHAPTER  XII 


CARICATURE    AND    COSTUME 


Georgian  humour,  like  that  of  most  epochs,  may  be 
taken  as  an  infallible  guide  to  the  spiritual  state  of  the 
general  public.  Two  kinds  of  humour,  the  broad  and 
the  subtle,  will  generally  flourish  side  by  side,  and  it  is 
on  the  prevailing  influence  that  we  must  base  our  judg- 
ment of  the  whole. 

Few  periods  in  our  history  have  possessed  less  of 
this  peculiarly  English  quality  in  either  form  than  that 
preceding  the  Georgian  era.  Such  as  there  was  before 
1700  may  be  found  occasionally  in  Dryden,  constantly 
in  Bunyan,  and  to  some  degree,  though  rarely,  owing 
to  the  predominance  of  wit,  in  the  comic  stage.  The 
great  group  of  satirists  of  the  next  age,  Swift,  Pope, 
Arbuthnot,  and  Defoe,  use  humour — when  they  use  it 
at  all — as  a  means  rather  than  an  end,  and  the  same 
may  be  said  of  the  earliest  of  our  artistic  humourists, 
William  Hogarth.  Addison's  humour,  in  which  tears 
are  heard  in  the  voice  of  laughter,  is  of  a  subtler 
cast ;  but  it  is  with  Fielding,  first  in  the  delightful 
burlesque  of  Tom  Thumb,  secondly  in  Joseph  Andrews 
and  its  successors,  that  humour  in  its  widest  sense 
revives  as  a  permanent  force  in  English  literature. 
Thenceforward,  in  spite  of  com^die  larmoyante,  senti- 
mental novel,  and  Meditations  among  the  Tombs,  humour 

998 


CARICATURE  AND  COSTUME  299 

becomes  a  great  and  growing  factor  in  literature  and 
art.  But,  like  most  young  growths,  it  required  a  great 
deal  of  pruning.  Coarseness,  which  might  be  defined 
as  the  comedy  of  physical  mishap,  had  always  tended 
to  be  a  vice  of  English  writers,  and  when  English  art 
came  to  its  own  it  was  inevitable  that  the  same  quality 
should  appear  in  it  also.  The  eighteenth  century  was 
a  coarse  age.  The  innate  antagonism  to  France  which, 
during  the  seventeenth  century,  among  the  better  classes 
at  least,  had  been  in  abeyance,  broke  out  in  full  force 
under  the  Georges,  and  John  Bullism  in  its  most  brutal 
form  was  rampant.  As  Horace  Walpole  said  of  the 
art  of  Teniers  and  his  school : — "  When  the  Flemish 
painters  attempt  humour,  it  is  by  making  a  drunkard 
vomit,  and  when  they  make  us  sick,  they  think  they 
make  us  laugh." 

Too  often  this  is  literally  true.  When  Smollett,  for 
instance,  is  at  his  best,  as  in  the  Roman  dinner  in  Pere- 
grine Pickle,  it  is  less  the  legitimate  comedy  of  learned 
and  incongruous  preparation  that  is  insisted  on  than  the 
finale,  the  universal  sickness  that  follows  on  partaking  of 
the  dishes  prepared  a  la  Pliny.  Twenty  years  later, 
when  the  adventures  of  the  Blunderhead  family  at  Bath 
were  making  all  England  laugh,  it  is  still  the  physical 
deformity,  the  practical  joke,  that  is  to  the  fore.  But, 
in  work  that  has  any  claim  to  be  called  literature,  this 
is  almost  the  latest  ebullition  of  humour  in  its  grosser 
forms.  The  ever-increasing  influence  of  the  novel  was 
a  powerful  agent  in  the  growth  of  urbanity,  and  its 
progress  during  half  a  century  may  be  traced  in  the 
three  great  names  of  Fielding,  Fanny  Burney,  and  Jane 


300  HISTORY  OF  AQUATINT 

Austen.  We  include  Jane  Austen  because  Pride  and 
Prejudice,  it  will  be  remembered,  was  written  in  1796, 
though  not  published  until  ten  years  later.  Art,  how- 
ever, had  still  to  pass  through  its  noisy  childhood  and 
boisterous  youth  ;  small  wonder  then  that  it  seems  to  us 
so  crude.  Thackeray  somewhere  says  that  the  jokes 
of  children  and  dull  men  are  mostly  cruel.  English 
art  was  very  young,  the  public  for  which  it  worked 
was  coarse  and  obtuse,  and  the  study  of  Rowlandson, 
Gillray  and  their  fellows  will  only  be  found  tolerable 
if  these  things  be  taken  into  account.  Even  so,  the 
need  for  forbearance  is  very  great.  As  in  literature 
the  Sentimental  Journey  is  in  essence  a  protest  against 
Smollett,  so  in  art  Stothard,  Kirk,  and  the  rest,  develope 
out  of  the  instinctive  opposition  of  finer  natures  to  the 
noisy  mirth  of  the  mob.  When  the  guffaw  has  subsided, 
more  delicate  voices  can  be  heard.  He  laughs  best  who 
laughs  not  loudest  but  longest ;  art  and  literature  alike 
bear  witness  to  this  truth. 

Before  going  on  to  the  books  in  our  period  that  are 
justified  of  their  humour,  it  may  be  well  to  devote  a  few 
words  to  the  history  of  caricature  in  England. 

The  fact  that  the  word  caricature  is  not  found  in 
dictionaries  before  Johnson,  that  Chesterfield  and  Junius, 
equally  with  Sir  Thomas  Browne  use  the  word  in  its 
Italian  form,  which  appears  in  Fores'  advertisement, 
shortly  to  be  quoted,  as  late  as  1790,  is  proof  that 
before  the  middle  of  the  eighteenth  century  the 
thing  was  not  common  enough  in  England  to  demand 
a  special  name.  It  appears  to  have  been  first  used 
politically   in    the    time    of    James    II.,    but    did    not 


CARICATURE  AND  COSTUME  301 

attain  serious  importance  until  the  period  of  the  Wal- 
pole  administration.  Buttons,  medals,  seals,  tobacco- 
stoppers,  cards,  fans,  etc.,  etc,  were  made  the  vehicle  of 
caricature  by  Whigs  and  Jacobites  alike,  until  after  the 
rising  of  '45,  when  they  gradually  died  out,  giving  place 
to  the  print  which  has  since,  in  art  at  least,  monopolised 
the  name.  The  social  importance  of  caricature  first 
appeared  at  the  time  of  the  South  Sea  Bubble,  but  was 
thenceforward  somewhat  in  abeyance  until  the  time  of 
George  III.  Personal  caricature,  on  the  other  hand, 
was  largely  made  use  of,  and  in  two  instances  at  least, 
the  Dunces'  revenge  upon  Pope,  which  included  the 
brilliant  and  fertile  discovery  that  A.P — E.  spelt  Ape, 
and  the  Hogarth- Churchill  quarrel,  resulting  in  the  satire 
of  the  Times  and  the  caricatures  of  Wilkes  and  Hogarth, 
retain  some  interest  to  the  present  day.  Soon  after 
1780,  the  rage  for  caricature  had  reached  such  a  height 
that  Fores,  the  enterprising  Piccadilly  printseller,  formed 
a  library  of  caricatures  and  prints,  and  charged  for 
admission  to  see  them,  or  lent  them  out  in  portfolios  for 
fashionable  evening  parties;  in  1790,  he  was  issuing 
the  following  detailed  advertisement : — 

"FORES'S 
GRAND  CARICATURA  EXHIBITION, 

IS    NOW   OPENED 

At  No.  3  PICCADILLY; 

CONTAINING  THE  MOST  COMPLETE  COLLECTION  OF 

Humourous^  Political  and  Satirical  Prints  and  Drawings 

EVER  EXPOSED  TO  PUBLIC  VIEW  IN  THIS  KINGDOM. 

"To  the  works  of  Hogarth,  Bunbury,  Sayre,  and  Rowlandson.  is 
added  every  Caricature  Print,  executed  by  other  hands,  that  has  been 
published  during  the  course  of  many  years.     The  whole  forming  an 


302  HISTORY  OF  AQUATINT 

entire  Caricature  History,  political  and  domestic,  of  past  and  present 
times. 

"  Tlie  appearance  of  this  exhibition,  when  illuminated  in  the  evening, 
is  not  easily  described. — The  effect  is  uncommonly  striking. 

"  The  Rooms  are  open  from  nine  in  the  morning,  till  eight  in  the 
evening. 

Admittance  One  Shilling. 

"N.B. — Fores  has  lately  added  to  his  Museum,  the  head  and  much 
of  the  unfortunate  Count  Struenzee,  who  was  beheaded  at  Denmark ; 
also  the  French  Caricature  Prints  on  the  Revolution." 

The  advertisement,  which  appears  in  French  and 
English  at  the  end  of  Fores' s  New  Guide  for  Foreigners 
[1789],  concludes  with  the  announcement  '^Prints  of  all 
kinds  wholesale  and  retail ;  Stationery,  etc,"  and  the 
announcement  of  new  prints  by  Rowlandson. 

The  time  had  come,  so  had  the  men.  Thomas 
Rowlandson  (1756-1827),  James  Gillray  (1757-1815), 
and  Henry  Bunbury  (1756- 1827) — a  man  of  far  higher 
education  and  position  than  either,  though  less  in  advance 
of  his  colleagues  in  the  matter  of  refinement  than  might 
have  been  hoped — poured  out  for  the  space  of  forty  years 
an  incredible  number  of  caricatures,  Gillray  alone  being 
credited  with  1500  plates,  and  their  work,  according  to 
W.  M.  Thackeray,  formed  the  staple  contents  of  the 
portfolios  in  every  country-house  in  England  for  two 
generations.  Their  tradition  was  carried  on  by  their 
young  contemporary  George  Cruikshank,  who  survived 
the  last  of  them  one  and  fifty  years,  and  lived  to  see  a 
change  in  the  spirit  of  humorous  art  analogous  to  that 
which  had  passed  over  English  fiction  between  1750  and 
1800. 

The  chief  humorous  works  with  aquatint  illustrations, 
though  in  the  case  of  the   more  important  artists  fully 


CARICATURE  AND  COSTUME  303 

dealt  with  elsewhere,  demand,  with  their  authors,  a  pass- 
ing notice.  Whether  these  authors  were  highly  placed 
civil  servants  or  gutter  journalists  the  type  of  humour  is 
curiously  similar,  the  very  reverse  of  that  which  is  not 
for  an  age,  but  for  all  time.  And  it  is  sometimes  diffi- 
cult to  feel  the  appreciation  that  can  make  allowances. 

John  Mitford  (i  782-1 831),  a  distant  cousin  of  Miss 
Mitford  of  Our  Village  and  her  egregious  father,  entered 
the  navy  as  a  midshipman  on  board  the  Victory  in  1795, 
and  was  present  at  the  battle  of  the  Nile,  of  his  prowess 
at  which  he  was  wont  to  tell  the  wildest  stories.  By  his 
own  account  he  deserted  the  service,  but  as  he  is  known 
to  have  been  in  the  navy,  and  to  have  held  other 
Government  positions  for  some  years  afterwards,  the 
incident  is  probably  imaginary.  In  181 1,  he  returned  to 
England  on  the  understanding  that  Lady  Perceval,  a 
distant  connection,  was  ready  to  procure  him  a  good 
appointment  in  the  Civil  Service,  but,  though  treating 
him  with  some  personal  kindness,  she  merely  used  his 
services  in  the  daily  press  on  behalf  of  her  idol  the 
Princess  of  Wales.  Under  the  stress  of  journalism 
Mitford's  brain  gave  way,  and  for  nearly  a  year  he  was 
the  inmate  of  a  lunatic  asylum.  He  was  only  liberated 
at  the  request  of  Lady  Perceval,  but  she,  finding  that  his 
articles  in  the  press  were  likely  to  get  her  into  trouble, 
got  Mitford  and  his  wife  to  burn  her  letters,  and  then 
brought  an  action  against  him  for  having  sworn  that  the 
articles  were  by  her.  The  trial  roused  considerable 
interest,  pamphlets  were  issued  on  either  side,  but 
Mitford  produced  some  of  Lady  Perceval's  letters  still 
in  his  possession,  and  was  triumphantly  acquitted.     Hav- 


304  HISTORY  OF  AQUATINT 

ing  been  discharged  from  the  navy  as  insane,  he  hence- 
forth devoted  himself  to  journalism,  publishing  articles  in 
the  Scourge  in  1815,  and  in  18 18,  his  best  known  work, 
The  Adventures  of  Johnny  Newcome  in  the  Navy  y  which  he 
wrote  in  imitation  of  a  book  with  the  same  title,  written 
by  Alfred  Burton,  and  illustrated  with  sixteen  plates  by 
Rowlandson.  During  these  years  he  sank  into  the  lowest 
depth  of  degradation  ;  his  unfortunate  family  were  pro- 
vided for  by  the  Mitfords,  but  he  declined  all  assistance, 
caring  only  for  drink  and  writing.  *'  Mitford,"  says 
Timperley,  "  has  been  heard  to  say  if  his  soul  was  placed 
on  one  table  and  a  bottle  of  gin  on  another,  he  would 
sell  the  former  to  buy  the  latter."^  His  publisher,  finding 
that  so  long  as  he  had  money  he  would  not  work,  limited 
him  to  a  shilling  a  day,  of  which  he  spent  tenpence  in 
gin,  and  for  forty-three  days  in  succession  he  is  said  to 
have  lived  in  Bayswater  Fields,  making  a  bed  out  of 
grass  and  nettles,  having  with  him  ink  and  paper,  spirits 
and  food,  and  only  emerging  when  his  next  shilling  was  due. 
Johnny  Newcome,  a  lively  poem,  in  octo-syllabic  verse, 
may  be  roughly  described  as  a  somewhat  improper  Peter 
Simple,  Portsmouth,  Barbadoes,  and  all,  and  it  is  possible 
that  Marryat  may  have  taken  hints  from  it.  His  de- 
scription of  a  private  lunatic  asylum  in  the  same  book 
suggests  another  and  later  work  of  Mitford's,  A 
Description  of  the  Crunes  and  Horrors  in  the  interior 
of  Warburtons  Private  Madhouse,  a  record,  certainly 
highly  coloured  and  possibly  fictitious,  of  personal  ex- 
perience. Mitford  sank  lower  and  lower,  and  eventually 
died  in  St  Giles'  workhouse,  24th  December,  1831. 

*  History  of  Printing,  p.  919. 


CARICATURE  AND  COSTUME  305 

The  Military  Adventures  of  Johnny  Newcome  gave 
rise  to  sundry  imitations,  among  which  the  best  is  the 
Post  Captain,  or  Adventures  of  a  True  British  Tar : 
by  a  Naval  Officer,  published  in  1817,  and  containing 
twenty-five  very  spirited  plates  by  C.  Williams.  Still 
another  imitation  is  the  Life  of  a  Soldier^  a  Narrative  ana 
Descriptive  Poem,  published  by  W.  Sams  in  1823,  and 
written  and  illustrated  by  William  Heath,  an  ex-Captain 
of  Dragoons,  who  made  the  original  drawings  for  the 
Martial  Achievements,  and  many  of  those  in  the  Historic 
Military  aizd  Naval  Anecdotes. 

David  Carey  (1782- 1824),  a  much  more  reputable 
person,  though  like  Mitford  essentially  a  journalist, 
spent  his  life  in  Scotland,  Paris,  and  London,  the  first 
supplying  material  for  his  sentimental  verse  and  novels, 
the  second  for  his  Life  in  Paris  (1S2 2),  and  the  third  for 
his  journalistic  work  and  his  well-known  satire  on  the 
dissolution  of  the  Ministry  of  All  the  Talents.  Of  his 
very  miscellaneous  work  only  Life  in  Paris,  sl  free 
imitation  of  Pierce  Egan's  Peal  Life  in  London,  con- 
cerns us  here.  The  twenty-one  spirited  aquatints  are 
by  George  Cruikshank,  whose  knowledge  of  France 
was,  nevertheless,  confined  to  one  day  spent  at  Bou- 
logne. It  is  said  that,  in  1865,  he  utterly  denied  having 
executed  these  plates,  which  had  seen  the  light  forty- 
three  years  before. 

"John  Careless,  Esq.,"  is  only  known  as  the  author 
of  a  rare  colour-book,  The  Old  English  Squire,  published 
by  M'Lean  in  182 1,  with  twenty  coloured  plates  "by 
one  of  the  family"  in  the  style  of  Rowlandson.  The 
literary  matter  differs  from  that  of  Combe  and  Mitford 


3o6  HISTORY  OF  AQUATINT 

in    being   strongly   influenced    by   the   style   of  Walter 

Scott,  wherever  the  galloping  metre  of  Retaliation  and 

the  Haunch  of  Venison  is  not  used.     Especially  curious 

is  the  account  of  the  collection  of  Old  Masters,   from 

which  the  Old  English  Squire  bought  his  St  Anthony 

preaching  to  the  Fishes ^  which  he 

"  sent  to  the  country, 
Where  it  edified  all,  but  most  fishing  gentry." 

The  more  famous  writings  of  William  Combe  have 
been  already  noticed,  and  only  a  fraction  of  his  other 
work  has  any  claim  to  remembrance.  Between  1774 
and  1823  he  was  constantly  pouring  out  volumes  on 
every  possible  subject,  from  editions  of  voyages  by 
Jesuits  and  naval  lieutenants,  and  scurrilous  pamphlets 
on  Wesley  and  Dr  Dodd,  to  political  skits,  serious 
histories  of  Westminster  and  the  Universities,  and 
studies  of  the  Origin  of  Commerce.  As  already  said, 
the  text  of  the  History  of  Madeira,  mostly  in  verse, 
was  written  in  his  seventy-ninth  year.  Of  the  eighty- 
five  separate  publications  mentioned  in  the  Dictionary 
of  National  Biography  very  few  are  germane  to  our 
purpose,  and  of  those  illustrated  in  aquatint  by  far  the 
most  famous  are  the  several  Tours  of  Dr  Syntax. 
Combe's  verse  is  easy  and  not  too  incorrect,  and  the 
original  idea — albeit  not  strong  enough  to  supply  such 
a  series  without  detriment — was  a  happy  one,  though 
it  must  be  admitted  that  Dr  Syntax  and  Grizzle  would, 
but  for  their  illustrator,  have  gone  the  way  of  all  third- 
rate  verse. 

The  Combe- Rowlandson  alliance  also  produced  other 
fruits,    the  Dance   of  Death  and  Dance  of  Life  being 


CARICATURE  AND  COSTUME  307 

notably  above  the  ordinary  level  of  Combe's  verse. 
All  these  works  show  the  better  side  of  Rowlandson's 
genius ;  the  best  was  reserved  for  the  Microcosm  and 
some  of  his  many  detached  drawings. 

Pierce  Egan  (1772- 1849),  journalist  and  author,  the 
patron  of  prize-fights  and  creator  of  Tom  and  Jerry, 
was  an  ardent  believer  in  pugilism  and  country  sports, 
and,  as  the  editor  of  Bell's  Life  wrote  of  him,  "  with  all 
his  oddities,  a  rightminded  fellow."  By  finding  the  right 
men  for  his  work  he  made  Life  in  London  (1821)  one  of 
the  great  successes  of  the  day,  comparable  to  that  other 
triumphant  alliance  of  humour  and  art  in  the  pages  of 
Dr  Syntcux.  The  Cruikshanks  are  hardly  more  refined 
than  Rowlandson,  and  the  book  and  its  successors  are 
now  little  else  than  curiosities,  but,  as  Thackeray  writes 
in  that  essay  in  the  Roundabout  Papers  which  to  many 
of  us  is  our  first  introduction  to  Tom  and  Jerry,  "  It 
must  have  had  some  merit  of  its  own,  that  is  clear ; 
it  must  have  given  striking  descriptions  of  life  in  some 
part  or  other  of  London,  for  all  London  read  it,  and 
went  to  see  it  in  its  dramatic  shape."  A  French  trans- 
lation appeared  at  Paris  in  1823,  under  the  title  of 
Diorame  Anglaise,  ou  Promenades  pittoresques  a  Londres, 
with  24  of  the  original  plates ;  a  Key  to  the  book,  with 
a  "  Vocabulary  of  Flash  and  Cant,"  was  published  at 
Edinburgh ;  and  the  burletta  founded  on  the  book 
and  acted  at  Sadler's  Wells  was  one  of  the  dramatic 
successes  of  the  day.  Egan's  own  continuation,  the 
Finish  to  the  Adventures  of  Tom,  ferry,  and  Logic 
(1828),  is  a  moralizing  of  the  whole,  and  far  less 
familiar  than  the  earlier  work ;   in  this  case  the  thirty- 


3o8  HISTORY  OF  AQUATINT 

six  plates  are  all  by  Robert  Cruikshank,  and  good 
as  they  are,  the  lack  of  George  Cruikshank's  verve 
is  distinctly  felt.  Egan's  knowledge  of  low  and  sport- 
ing life  enabled  him  to  contribute  the  slang  phrases  to 
Grose's  Dictionary  of  the  Vulgar  Tongue  (1823),  and 
a  periodical  started  by  him  in  1824  as  Pierce  Egans 
Life  in  London  and  Sporting  Guide  eventually  became 
the  notorious  Bell's  Life.  His  other  works,  illustrated 
in  aquatint,  were  Anecdotes  of  the  Turf,  the  Chase,  the 
Ring,  and  the  Stage,  and  the  Life  of  an  Actor,  both 
with  plates  by  Theodore  Lane.  Egan's  frequent  coarse- 
ness makes  it  a  matter  of  surprise  that  the  dedication 
of  his  Pilgrims  of  the  Thames  in  Search  of  the 
National,  a  reflection,  in  name  at  least,  of  Dr  Syntax, 
should  have  been  accepted  by  the  young  Queen  Victoria 
in  1838. 

Sir  Charles  D'Oyly  (i  781-1845)  was  only  incidentally 
a  humorist,  being  a  Norfolk  baronet,  a  collector  of 
Calcutta,  and  M.P.  for  Ipswich,  and — unlike  the  majority 
of  contemporary  humorists — the  restorer  of  his  family 
fortunes.  He  entered  the  East  India  Company's 
service  before  he  was  sixteen,  and  during  forty  years  of 
loyal  service  and  steady  promotion  was  one  of  the  most 
prominent  civilians  in  India.  His  return  home  was 
occasioned  by  ill  health,  and  the  last  seven  years  of  his 
life  were  spent  chiefly  in  Italy.  D'Oyly  was  an  amateur 
of  considerable  gifts,  and  his  drawings  were  much 
admired  by  Bishop  Heber.  Specimens  may  be  seen  in 
the  European  in  India  ( 1 8 1 3)  and  the  Antiquities  of  Dacca 
(18 1 4- 1 5).  His  only  humorous  work,  Tom  Raw,  the 
Griffin,   a    Burlesque    Poem,    describes,    with    more   of 


CARICATURE  AND  COSTUME  309 

artistic  than  literary  merit,  the  adventures  of  a  cadet  in 
the  Company's  service.  The  book  was  pubHshed 
anonymously  in  1828,  and  has  not  been  re-issued. 

Of  the  career  of  Gillray  an  outline  will  be  found 
among  the  biographical  notices  at  the  end  of  this 
volume.  His  caricatures,  social  and  political,  are  far 
more  literary  than  Rowlandson's,  and  therefore  more 
enduring,  his  allusions  being  drawn  from  sources  as 
wide  apart  as  Milton  and  Swift.  No  one  who  has  seen  it 
can  forget  the  cartoon  of  George  III  as  the  King  of 
Brobdingnag,  watching  with  contemptuous  amusement 
the  movements  of  Napoleon-Gulliver  in  his  cockleshell 
of  a  boat,  and  this  is  only  one  of  many  examples.  But 
as  a  book-illustrator  he  did  next  to  nothing.  Rowland- 
son,  on  the  other  hand,  illustrated  more  than  thirty  books 
in  plain  or  coloured  aquatint,  varying  from  the  very 
finest  work  executed  for  Ackermann  to  plates  of  the 
grossest  character.  Small  wonder  that  Thackeray  calls 
them  and  their  like  "prohibited  pages  in  the  wild,  coarse, 
reckless,  ribald,  generous  book  of  old  English  humour." 

The  work  of  Henry  Aiken  {fl,  1816-1831),  whether  in 
the  form  of  independent  drawings  or  illustrations  to 
coloured  books  such  as  the  Life  of  a  Sportsman  and  the 
National  Sports  of  Great  Britain,  was  largely  executed 
for  M'Lean,  his  earlier  plates  appearing  under  the 
pseudonym  of  "  Ben  Tallyho."  His  drawing  is  not 
always  of  the  strongest,  and  his  wit  is  of  the  cheapest 
order,  but  as  an  illustrator  of  sport,  coaching,  and  racing, 
whether  in  the  Memoirs  of  John  Mytton  or  the  National 
Sports,  he  possesses  an  importance  which  his  pro- 
fessedly humorous  works,  such  as  the  Symptoms  of  being 


3IO  HISTORY  OF  AQUATINT 

Amused  and  A    Touch   at  the   Fine  Arts  are  wholly 
without.     Most  of  his  work  is  in  soft  ground  etching. 

A  very  small  proportion  of  the  mass  of  illustrations 
executed  by  George  Cruikshank  is  in  aquatint,  and  the 
most  famous  of  these,  Life  in  London,  is  the  joint  pro- 
duction of  himself  and  his  brother  Robert.  Their 
coloured  plates  consist  of  etchings,  sometimes  with  an 
addition  of  aquatint,  which  were  afterwards  coloured  by 
hand.  Other  important  works  thus  partially  illustrated 
in  aquatint  were  Mudford's  Historical  Account  of  the 
Campaigns  in  the  Netherlands  ( 1 8 1 7)  and  the  Hudibrastic 
Life  of  Napoleon  by  Dr  Syntax  (1815),  sometimes  attri- 
buted to  Combe. 

The  name  of  Robert  Cruikshank  leads  us  to  consider 
what  is  perhaps  the  most  daring  book  ever  published,  the 
English  Spy  (1825)  of  Charles  Molloy  Westmacott,  the 
disreputable  editor  of  a  disreputable  paper,  The  New 
Age.  The  scope  of  the  book  is  indicated  by  its  sub-title, 
An  Original  Work,  Characteristic,  Satirical  and 
Humorous,  comprising  scenes  and  sketches  in  every  rank  of 
society,  being  Portraits  of  the  Illustrious,  Eminent, 
Eccentric,  and  Notorious ;  Drawn  from  the  life  by 
Bernard  Blackmantle.  On  the  covers  of  the  parts  in 
which  the  book  was  originally  issued  are  advertised,  with 
matchless  impudence,  numerous  books  published  by 
Westmacott  under  his  own  name ;  sixty-eight  of  the 
seventy-two  admirable  aquatint  plates  and  all  the  wood- 
cuts are  by  Robert  Cruikshank.  The  text  is  more 
interesting  than  the  pictures,  a  rare  thing  in  coloured 
books,  and  the  freedom  with  which  notorious  personages 
of  the  day,  male  and  female,  are  introduced  is  astounding. 


CARICATURE  AND  COSTUME  311 

The  first  volume  is  the  pleasanter  ;  the  chapters  on  Eton 
are  full  of  an  arch  tenderness  that  suggests  Leigh  Hunt, 
and  abound  in  interesting  details  of  Montem,  Election 
Saturday,  etc.  The  hero  then  goes  to  Oxford — incident- 
ally we  learn  that  the  commoner  of  the  day  wore  a  long 
gown,  not  the  unpicturesque  garment  at  present  allotted 
him — and  becomes  acquainted  with  the  rowdyism  of  the 
time.  Burning  the  Oaks,  a  Scene  in  Tom  Quad,  pistol 
firing  in  college  rooms,  and  less  moral  occupations  come 
into  the  account  of  the  first  term  ;  with  the  hero's  visit  to 
Cockney  Land  personalities  really  begin.  A  long  poem 
with  explanatory  notes  describes  the  beau  monde  in  Hyde 
Park,  with  careful  attention  to  every  scandal  then  in 
vogue,  the  Opera,  the  Royal  Saloon,  and  Shew  Sunday 
(sic\  Then  follow  other  details  of  Oxford  life :  a  wine 
party  makes  even  those  in  Verdant  Green  good- 
mannered  ;  a  Town  and  Gown  row  ends  in  rustication, 
during  which  a  visit  to  Brighton  introduces  the  Pavilion, 
the  company,  and  Majesty  itself — "  that  life  and  soul  of 
all  that  is  elegant  and  classical,"  for  Bernard  Blackmantle 
is  a  loyal  man.  Further  sketches  of  London  follow  ; 
Tattersall's,  a  Prize  Fight,  Covent  Garden  Clubs,  the 
Maiden  Brief,  the  Green  Room,  with  portraits  of 
Elliston  and  Munden,  immortalised  by  Charles  Lamb, 
the  Mansion  House  Ball,  an  Irish  Wake,  a  ball  at  the 
notorious  Argyll  Rooms,  with  biographical  details  of 
incredible  audacity,  Punch,  the  Marigold  family  at  home 
and  on  a  water  party,  and  other  studies  of  the  manners 
and  customs  of  the  cit,  rows  at  Westminster  and 
Harrow,  and  a  scene  on  the  Stock  Exchange.  The 
hero  then  visits  the  Isle  of  Wight,  and  indulges  in  naval 


312  HISTORY  OF  AQUATINT 

frolics  of  Smollett-like  coarseness,  goes  to  the  spas  and 
Doncaster  races,  visits  Gloucester,  Berkeley,  Bristol,  and 
finally  Bath,  where  a  wonderful  Fancy  Ball  is  held  at  the 
Upper  Rooms.  Another  plate,  a  scene  in  Milsom  Street, 
explains  why  Catherine  Morland  and  her  friends  in 
N or t hanger  Abbey  found  it  so  difficult  to  cross  the  road. 
With  Waggeries  at  Worcester,  a  call  to  town,  and  a  short 
Ode  at  Parting,  this  extraordinary  miscellany  comes  to  an 
end. 

It  seemed  worth  while  to  describe  the  English  Spy  at 
length  as  it  forms  a  sort  of  microcosm  of  late  Georgian 
humour,  a  compound  of  personalities,  puns,  and  down- 
right brutality,  with  a  delicate  humorous  touch  not 
unworthy  of  the  age  of  Lamb.  The  work  of  the  great 
and  unforgotten  humourists,  to  us  the  highway  of  litera- 
ture, were  to  their  contemporaries  obscure  bypaths. 
Eight  editions  of  Dr  Syntax,  apart  from  continuations 
and  imitations,  appeared  between  1812  and  18 19;  the 
Essays  of  Elia  were  collected  in  1 823,  and  no  other  edition 
appeared  during  the  author's  life.  Fairly  to  estimate 
Georgian  humour  we  must  leave  the  works  of  the 
immortals,  Lamb  and  Hunt  and  the  Essay  on  Murder 
as  a  Fine  Art,  and  turn  to  those,  in  Shelley's  phrase,  of 
'  the  illustrious  obscure,'  which — oh  !  glory  extinct — are 
now  sought  only  for  their  illustrations. 

The  costume  of  the  past  is  to  us  so  much  a  matter  of 
archaeology,  that  of  the  present  so  much  a  matter  of 
fashion — and,  in  cases  where  costume  in  the  strict  sense 
still  survives,  of  sentimental  interest — that  we  accept  it 
as   more  or    less    inevitable.      No    romance    surrounds 


CARICATURE  AND  COSTUME  313 

the  subject ;  a  play  is  staged  with  minute  historical 
accuracy ;  a  district  in  which  national  dress  is  still  worn 
is  marked  down  by  the  organisers  of  cheap  travel  ;  and 
the  eye,  not  the  imagination,  is  appealed  to  in  either  case. 
At  the  close  of  the  eighteenth  century,  on  the  other 
hand,  the  picturesque,  whether  in  nature  or  art,  was  a 
new  discovery.  Two  conventions  had  long  held  the 
field,  the  classic  as  appropriate  to  the  heroic,  contem- 
porary dress  and  manners  to  the  everyday ;  and  each 
may  be  abundantly  illustrated  from  art,  literature,  and 
the  stage.  "  How  lately,"  says  Planch^  in  his  History  of 
British  Costume ^  "  have  the  heroes  and  sages  of  Greece 
and  Rome  strutted  upon  the  stage  in  flowery  perukes  and 
gold-laced  waistcoats. 

"  What  shook  the  stage  and  made  the  people  stare  ? 
Cato's  long  wig,  flowered  gown,  and  lacker'd  chair." 

On  the  new  coinage  of  1787  George  III  appears 
in  the  dress  of  a  Roman  general,  while  St  Paul's  and 
Westminster  Abbey  are  full  of  classical  statesmen  and 
men  of  letters.  Probably  the  latest  example  of  the  use 
of  the  toga  is  the  statue  of  William  Huskisson,  of  all 
men,  in  Chichester  Cathedral,  a  provincial  instance,  it  is 
true,  but  remarkable  as  proving  the  hold  of  the  classical 
ideal  on  English  life  and  art. 

This  ideal,  be  it  remembered,  was  wholly  uncon- 
nected with  the  classicism  of  David  and  his  school ;  it 
was  a  tradition,  not  a  movement,  and  French  enthusiasm 
for  the  ancients,  associated  as  it  was  with  the  Revolution, 
probably  did  much  to  destroy  its  vogue  in  England.  Sir 
John  Carr,  one  of  the  earliest  travellers  to  penetrate  into 
France  after  the  Peace  of  Amiens,  went,  he  tells  us,  to 


314  HISTORY  OF  AQUATINT 

David's  studio,  but  "the  presence  of  that  bloody  revolu- 
tionary covered  the  gratification  with  gloom."  Another 
reason  for  the  decadence  of  the  classic  convention  may 
be  found  in  the  existence  of  the  great  English  school  of 
painting.  Reynolds  and  Gainsborough  were  too  in- 
fluential, and  too  much  bound  up  with  the  English 
aristocracy  and  things  as  they  were,  their  disciples  too 
numerous  and  important,  for  English  art  to  be  carried 
away  with  the  wind  of  the  new  doctrine ;  and  when  a 
rebel  arose  in  the  person  of  Haydon,  it  was  not  from 
France  that  he  sought  his  inspiration. 

The  classical  tendency  in  England  then  was  on  the 
wane  after  the  outburst  of  the  Revolution  and  the  dis- 
covery of  the  Middle  Ages  had  begun.  As  early  as 
1749  Shenstone  was  writing  to  Lady  Luxborough,  **/ 
propose,  or  fancy  I  propose,  to  build  a  Piece  of  Gothic 
Architecture,  at  sight  of  which,  all  modern  Castles  near 
shall  bow  their  Heads  abased,  like  the  other  Sheaves 
to  Joseph's";  a  little  later  came  Strawberry  Hill  and 
Gray's  letters  to  his  friends  about  Gothic  wall  papers, 
and  the  romantic  revival  had  fairly  begun.  Papworth 
and  James  Wyatt  had  gone  further  than  Horace  Wal- 
pole,  and  "Gothic"  structures  all  over  England  began 
to  call  for  fittings,  costumes,  armour,  to  match.  The 
cosmopolitan  spirit  was  evoking  books  of  travel  by  the 
hundred ;  and  what  was  the  value  of  foreign  scenes  with- 
out foreigners,  or  how  should  strange  countries  be 
realised  without  pictures  of  their  stranger  inhabitants  ? 

The  spirit  of  the  age  was  that  of  discovery,  less  of 
things  than  of  people,  and  showed  itself  in  a  thousand 
ways  ;  in  architecture  as  we  have  seen,  in  painting,  when 


CARICATURE  AND  COSTUME  315 

Gainsborough  could  choose  a  Vandyke  dress  to  set  off 
some  of  his  noblest  portraits  ;  in  travel,  when  costume 
plates  ranging  from  Yorkshire  to  Japan  were  published 
and  bought  in  London,  and  in  the  historical  spirit,  which 
set  Godwin  to  writing  lives  of  Chaucer  and  histories  of 
the  Commonwealth  in  which  what  might  have  been 
seen  by  the  poet  and  by  Cromwell  was  dragged  in  to 
the  detriment  of  the  book  but  the  satisfaction  of  the 
reader.  The  time  had  come  for  the  proper  study  of 
mankind,  and  the  change  which  was  heralded  by  West 
in  1 77 1,  when  he  dared,  in  defiance  of  criticism,  to  repre- 
sent Wolfe  in  uniform,  instead  of  in  heroic  nakedness 
or  classic  armour,  dying  victorious  in  the  arms  of  his 
soldiers  ;  ^  which  was  assisted  by  Cook's  Voyages  and  the 
appearance  in  London  of  the  Hawaiian  Omai  ;  and  was 
given  its  opportunity,  in  Europe  at  least,  by  the  Peace 
of  Amiens,  made  so  great  a  difference  to  art,  to  literature 
and  to  the  stage  that  the  Waverley  Novels  fell  as  seed 
into  tilled  ground,  and  if  on  the  one  hand  they  led  to  the 
Eglintoun  Tournament,  they  also  prepared  the  way  for 
the  study  of  sociology,  or  man  as  he  was  and  is. 

One  of  Boydell's  earlier  publications,^  Thomas  Jefifery's 
Collection  of  the  Dresses  of  Different  Nations — -particu- 
larly Old  English  Dresses  (1773),  with  its  480  plates,  is 
one  of  the  earliest  and  most  important  books  on  its 
subject,  but  it  is  difficult  to  find  any  satisfactory  explana- 
tion for  the  amazing  outburst  of  books  on  costume  from 

'  ItS^nly  fair  to  the  Academy  to  state  that  Reynolds,  who  had  at  first 
been  opposed  to  the  innovation,  was  converted  by  the  finished  picture,  and 
prophesied  that  it  would  "occasion  a  revolution  in  art." 

*  It  is  an  interesting  fact  that  the  costumes  of  Holland,  Russia,  and 
Sweden  in  this  book  are  taken  from  etchings  by  Le  Prince  (see  chap.  ii.). 

U 


3i6  HISTORY  OF  AQUATINT 

1789  onwards,  and  the  willingness  of  the  public  to  pay 
the  large  prices  at  which  they  were  issued.  Interest  in 
the  subject  at  home  centred  in  the  numerous  collections 
of  fashion  plates,  such  as  those  in  the  RepositoTy,  La  belle 
Assembl'ee,  the  Gentleman  s  Magazine  of  Fashions,  Hearn 
and  Walker's  British  Costumes,  Heidelhoffs  Gallery  of 
Fashion,  and  many  merely  ephemeral  publications  besides. 
Among  the  artists  the  names  of  W.  Alexander  and 
J.  A.  Atkinson  are  specially  prominent.  As  a  rule 
stipple  seems  to  have  been  found  a  more  suitable 
process  than  aquatint  for  representing  the  delicacy  of 
detail  in  costume,  at  least  it  was  more  often  used  for  the 
purpose,  and  The  Gallery  of  Fashion,  published  by  N. 
Heidelhoff  in  1794,  is  the  best  example  of  aquatint 
applied  to  fashion  plates.  It  appeared  in  monthly  parts 
at  three  guineas  for  the  yearly  volume,  and  was  com- 
pleted in  1802  in  nine  volumes,  containing  251  engrav- 
ings and  aquatints,  delicately  hand-coloured  with  the 
addition  of  gold.  The  prints  are  most  spirited  and 
characterful,  quite  unlike  the  stereotyped  conventions 
of  the  present-day  fashion  plate,  and  the  book  is  indeed 
what  it  claims  to  be,  "  a  Repository  of  Dress."  A  com- 
plete copy  is  hard  to  find,  as  such  books,  more  perhaps 
than  any  others,  have  been  broken  up  for  the  value  of 
their  single  plates,  and  when  one  comes  into  the  market 
it  fetches  ;^30  or  more.  There  is  no  engraver's  name, 
but  the  plates  were  probably  executed  by  Nikolaus 
Wilhelm  von  Heidelhoff  (i  761-1839),  one  of  a  family 
of  artists,  sculptors  and  architects  whose  careers  ex- 
tended over  nearly  two  centuries  (1676- 186  5),  and 
was    from     childhood     brought    up    as    an    engraver, 


CARICATURE  AND  COSTUME  317 

studying  at  Stuttgart  under  J.  G.  V.  Miiller.  In 
1784  he  went  to  Paris  in  the  service  of  Duke  Charles 
Eugene,  but  quitted  his  employer  almost  at  once  and 
supported  himself  as  a  miniature  painter.  He  subse- 
quently came  over  to  England  and  worked  with  Acker- 
mann,  for  whom  he  executed  the  engravings  in  the 
Costume  of  the  Swedish  Army.  In  181 5  he  was  ap- 
pointed director  of  the  picture-gallery  at  the  Hague,  and 
died  subsequently  to  1838. 

Other  costume  books  of  great  value  are  those  issued 
with  short  descriptive  essays  by  William  Miller,  the 
publisher,  between  1800  and  1808.  The  Costume  of 
China,  by  Lieut.-Col.  Mason,  from  original  drawings 
by  Peu  Qua,  of  Canton  ;  The  Punishments  of  China, 
by  the  same ;  The  Costume  of  Turkey,  by  Octavian 
d'Alvemart ;  The  Costume  of  Russia  and  The  Costume  of 
Austria,  all  these  being  in  stipple.  Then  appeared  The 
Costume  of  China,  by  William  Alexander,  draughtsman 
to  the  embassy  of  Earl  Macartney,  which,  as  the  pre- 
face says,  "being  executed  by  a  British  artist,  forms  a 
strong  contrast  to  that  from  the  pencil  of  the  native  Peu 
Qua,  more  particularly  as  the  subjects  selected  are  also 
all  different."  This  series  was  completed  in  1808  by  a 
seventh  on  The  Costume  of  Great  Britain,  designed, 
engraved,  and  written  by  W.  H.  Pyne,  the  complete 
set,  containing  t^'jt^  engravings,  being  published  at 
;^48,   1 6s.  6d. 

In  the  preface  to  the  last  volume  Miller  states  that, 
"  having  at  great  labour  and  expence  produced  a 
series  of  costumes,  illustrative  of  the  Manners,  Habits 
and   Decorations  of  several  highly  interesting  Foreign 


3i8  HISTORY  OF  AQUATINT 

Countries,  with  which  British  travellers  and  British 
readers  have  been,  till  of  late  years,  very  little  con- 
versant," he  thought  "that  the  utility  and  interest  of  the 
whole  might  be  considerably  augmented  by  contrasting 
them  with  similar  representations  taken  from  his  own 
country."  Good  as  are  all  the  plates  in  this  very 
interesting  volume,  perhaps  the  most  successful  are 
those  devoted  to  the  delineation  of  the  various  crafts 
and  trades,  for  Pyne  had  a  wonderful  eye  for  the  physical 
characteristics  produced  by  different  occupations,  and 
great  sympathy  with  the  trader,  whether  apprentice  or 
master,  as  his  literary  work  everywhere  shows. 

We  have  alluded  earlier  to  the  criticism  often  passed 
on  aquatint  engraving,  that  it  destroys  the  individuality 
of  the  artist  by  its  method  of  translating  his  work.  No 
more  striking  instance  of  the  fact  that  this  is  not  an 
inevitable  result  of  the  process  can  be  found  than  in  the 
books  illustrated  by  John  Augustus  Atkinson.  He  was 
born  in  the  same  year  as  Turner  and  Girtin,  and  had 
gone  to  Russia  when  nine  years  old.  Two  of  his 
pictures  from  Russian  history  were  hung  as  early  as 
1799  in  the  Palace  of  St  Michael,  and  he  seems  to  have 
attracted  the  notice  of  the  Empress  Catherine  and  to 
have  been  patronised  by  her  as  well  as  by  the  Emperor 
Paul  after  her  death.  Atkinson  returned  to  England 
after  Paul's  assassination  in  1801,  bringing  with  him 
sketches  of  costumes,  scenes  of  military  life  and  other 
material  which  he  used  later  in  the  books  that  appear 
under  his  name.  James  Walker,  whose  name  is  joined 
with  his  in  the  fine  book  entitled  A  picturesque  Repre- 
sentation of  the  Manners,  Customs  and  Amusements  of 


Q    >. 


CARICATURE  AND  COSTUME  319 

the  Russians  ( 1 8 1 2),  had  been  engraver  to  the  Empress  at 
St  Petersburg  when  Atkinson  was  there.  Atkinson's 
style  is  exceedingly  free  and  spirited,  his  composition 
most  graceful  and  his  colouring  light  and  delicate.  His 
work  is  largely  in  soft  ground  etching  in  combination 
with  aquatint.  After  1803  he  exhibited  annually  at  the 
Royal  Academy,  but  little  has  been  discovered  about 
the  later  years  of  his  life,  and  the  date  of  his  death  is 
unknown.  Besides  his  plates  on  costume  he  did  some 
of  a  humorous  nature,  notably  those  for  The  Miseries  of 
Human  Life,  a  book  written  by  James  Beresford  (1764- 
1840),  a  clergyman  and  miscellaneous  writer,  which  won 
the  praise  of  Scott  and  went  through  several  editions, 
and  also  executed  a  series  of  twenty-six  water-colour 
drawings  in  illustration  of  Don  Quixote^  which  do  not 
appear  to  have  been  engraved. 

The  Costume  of  Yorkshire,  by  George  Walker,  has 
some  fine  bold  plates  by  R.  and  D.  Havell,  in  which  the 
specially  characteristic  occupations  of  the  Dalesmen  are 
well  represented.  Particularly  attractive  are  those  ot 
the  Moor  Guide,  the  Dog-breaker,  the  Wolds  Waggon, 
and  others  that  show  a  charming  background  of  moor 
and  country.  A  book  in  very  similar  character,  with 
a  descriptive  text  in  French  and  English,  is  The 
Characteristic  Costume  of  France,  with  appropriate 
descriptions  by  an  artist  recently  returned  from  the 
Continent,  one  R.  B.  Peake,  whose  name  is  on  all 
the  plates  as  etcher,  some  of  them  having  the  further 
inscription  engraved  by  R.  Havell. 

The  twenty  coloured  plates  in  A.  P.  D.  G.'s  Sketches 
of  Portuguese  Life,  manners,  customs  and  character,  are 


320  HISTORY  OF  AQUATINT 

not  particularly  interesting,  but  the  text  that  accompanies 
them  gives  a  vivid  and  easily  written  account  of  the 
state  of  society  in  Portugal  at  the  time ;  the  author  was 
in  the  Portuguese  Civil  Service  for  many  years,  and  the 
subjects  of  the  plates  are,  he  says,  nearly  all  scenes  of 
which  he  was  himself  an  eye-witness. 

The  Costume  and  Customs  of  Modern  India  ( 1 8 1 3),  from 
a  collection  of  drawings  by  Charles  D'Oyly,  engraved 
by  J.  H.  Clark  and  C.  Dubourg,  has  a  good  descriptive 
text  by  Capt.  Thomas  Williamson,  and  a  very  amus- 
ing preface  concerning  the  young  gentlemen,  own 
brothers  of  D'Oyly 's  Tom  Raw,  who  go  out  in  "the 
Company's  civil  or  military  services."  He  describes 
the  order  of  their  day,  their  wardrobe,  exercise  and 
diet,  and  incidentally  we  hear  the  somewhat  surprising 
statement  that  "  such  as  do  not  take  wine,  especially 
as  they  advance  in  years,  are  not  only  more  subject 
to  disease,  but  go  off  more  suddenly  than  those 
who  take  a  few  glasses  at  their  meals."  The  twenty 
plates  are  concerned  as  much  with  the  Englishman  as 
the  native,  and  some  of  the  little  groups,  such  as  an 
English  family  at  table  under  a  punkah,  and  the  Marquis 
Wellesley  and  suite  at  the  Nabob  of  Oude's  breakfast 
table,  viewing  an  elephant  fight,  are  particularly  good. 
They  are  of  a  somewhat  unusual  character,  being  set  in 
a  framework  of  lines  with  a  narrow  tinted  border,  and 
have  a  very  fine  ground  and  delicate  colouring. 

So  far  as  our  own  country  is  concerned,  the 
most  important  and  in  their  way  epoch  -  making 
books  on  costume  were  those  of  Charles  Hamilton 
Smith   and   Samuel    Rush    Meyrick,    written   as    they 


CARICATURE  AND  COSTUME  321 

were  from  the  point  of  view  of  the  antiquary  and  the 
scholar. 

Charles  Hamilton  Smith  (1776- 1859)  was  a  soldier 
and  writer  on  natural  history  who  began  to  sketch  before 
he  was  fifteen,  and  through  his  varied  career  of  active 
service  was  ever  making  drawings  and  accumulating 
scientific  data.  He  retired  on  half-pay  in  1820  and 
settled  at  Plymouth,  where  he  had  an  extensive  library, 
and  spent  the  rest  of  his  life  in  writing  books  on  his- 
tory, natural  history,  and  archaeology.  His  great  work, 
Selections  of  the  Ancient  Costume  of  Great  Britain  and 
Ireland {\Zi^y  was  illustrated  entirely  from  the  collection 
in  his  possession.  Its  aim  was  to  show  that  the  disregard 
of  traits  of  costume  by  painters  or  actors,  due  to  a  pre- 
judiced idea  "  that  the  pursuits  of  the  Antiquary  are  dry, 
tasteless  and  inelegant ;  and  that  to  introduce  upon  the 
stage  or  on  the  canvas  materials  derived  from  such  a 
source,  must  naturally  destroy  all  beauty  and  harmony, 
and  produce  an  insipid  if  not  a  burlesque  effect.  But  an 
inspection  of  the  following  specimens  will  tend  to  prove 
the  notion  groundless,  and  shew  that  when  the  outline 
of  the  human  form  is  preserved  tolerably  correct,  the 
draperies  and  armour  will  not  be  wanting  in  beauty  or 
grandeur.  Far  from  diminishing  the  impressions  intended 
to  be  conveyed,  an  adherence  to  the  costume  of  the  times 
represented  will  augment  the  illusion,  and  assist  to  explain 
the  meaning."  The  plates  are  all  from  Smith's  own 
drawings,  and  are  signed  etched  by  J.  A.  Atkinson,  and 
aquatinted  by  Hill,  R.  Havell,  J.  Havell,  and  Merigot. 

Samuel  Rush  Meyrick  (1783- 1848),  who  co-operated 
with  Hamilton  Smith  in  his  other  great  work,  Costume  of 


322  HISTORY  OF  AQUATINT 

the  original  Inhabitants  of  the  British  Islands  ( 1 8 1 4),  was 
a  great  scholar  and  writer  on  archaeological  subjects.    He 
accumulated  a  magnificent  collection  of  armour,  and  in 
1826  advised  the  authorities  of  the  Tower  of  London  as 
to  the  arrangement  of  the  national  collection.     Two  years 
later  he  arranged  the  collection  at  Windsor  Castle,  for 
which  service  he  was  knighted  by  George  IV.     The  main 
object  of  his  Critical  Enquiry  into  antient  armour  {iS  24) 
was,  he  says  in  the  preface,  "  to  establish  that  chronology 
of  Costume  with  respect  to  antient  arms  and  armour  which 
has  hitherto  been  so  imperfectly  regarded  alike  by  writers, 
painters,  and  dramatists  of  modern  times  '* ;  and  further 
on  he  adds  :  "  The  refined  taste  which,  with  regard  to 
other  matters  of  costume,  has  been  so  happily  cultivated 
in  this  country,  during  the  present  reign,  has  not  only 
given  a  general  stimulus  to  the  arts,  but  introduced  into 
paintings   and    scenic    representations   of  all   kinds,  an 
historical   accurateness  with   which   our  ancestors  were 
unacquainted.     Good  drawing  and  correct  colouring,  fine 
acting  with  well  delivered  sentences  are  now  considered 
as  insufficient  without  chronological  accuracy."    The  book 
is  certainly  superb.     Aquatint  is  largely  employed  on  the 
plates,  which  were  engraved  by  Maddocks,  some  of  them 
having  in  addition  aquatinted  by  Charles  Hunt.      The 
colouring  is  rich  and  effective,  and  often  enhanced  with 
gold.      In  1823  Meyrick  made  the  acquaintance  of  J.  R. 
Planche,  and  assisted  him  in  his  efforts  for  the  reform  of 
theatrical  costume.     In  that  year  Charles  Kemble  revived 
King  John  at  Drury  Lane,  and  Planche,  after  making 
historical  researches,  designed  the  dresses  and  gratuitously 
superintended  the  production.     It  was  the  first  occasion 


CARICATURE  AND  COSTUME         323 

on  which  a  play  was  brought  out  with  due  attention  to 
historic  truth.  The  days  of  Norval  in  white  satin  and 
Lady  Macbeth  in  black  velvet  and  point  lace  were  over, 
and  accuracy  as  well  as  splendour  had  supplanted  the 
confused  theatrical  traditions  of  the  earlier  stage. 

The  number  of  books  on  costume  illustrated  in 
aquatint  may,  at  first  sight,  seem  a  small  one,  but  it 
must  be  remembered  that  many  of  the  volumes  on 
travel  include  pictures  of  the  dress  of  foreign  countries. 
Interest  in  costume  will  last  as  long  as  history,  and  if  in 
books  devoted  to  it  during  the  period  under  review 
stipple  competes  with  aquatint  in  illustrative  import- 
ance, the  aquatint  lover  has  the  satisfaction  of  knowing 
that  the  works  by  C.  H.  Smith  are  likely  to  remain 
classics  on  the  subject  for  all  time. 


APPENDIX  A 

BOOKS   PUBLISHED   BEFORE    1830   WITH 
AQUATINT  PLATES 

The  limit  of  date  here  adopted  is  1830.  Exceptions  are,  however, 
made  in  the  case  of  artists  whose  earlier  work  falls  within  the  period^  or 
where  it  seemed  desirable  to  complete  the  list  of  books  on  a  given  subject  or 
by  an  engraver  of  importance.  Flates  are  not  coloured  unless  so  described. 
London  is  the  place  of  publication  unless  othenvise  stated.  The  edition 
first  mentioned  is  that  from  which  bibliographical  details  are  given. 
Anonymous  authors  have  their  names  inserted  for  purposes  of  reference. 

Abbott  {Henry).  Antiquities  of  Rome.  24  plates  by  D.  Havell  and 
J.  Gleadah.     Imp.  fol.,  1820. 

Abel  {Clarke).  Narrative  of  a  Journey  in  the  Interior  of  China.  Maps, 
woodcuts,  and  16  plates  by  T.  Fielding,  of  which  14  are  aquatint,  after 
Lieut.  I.  Cooke,  C.  Abel,  and  H.  Raper.     4to,  181 8. 

Account  of  the  Visit  of  His  Royal  Highness  the  Prince  Regent,  with  their 
Imperial  and  Royal  Majesties  the  Emperor  of  all  the  Russias  and  the 
King  of  Prussia,  to  the  Corporation  of  London  in  June,  1814.  Coloured 
frontispiece.     4to  (181 5). 

Accum  {Fred.).  Balneology  Guide  to  the  Chalybeate  Spring  of  Thetford. 
2  folding- plates,  of  which  one  is  coloured  by  W.  Read  after  Joseph 
Wilkinson  of  Thetford.     Sm.  8vo,  18 19. 

Accurate  (An)  and  Impartial  Narrative  of  the  War,  by  an  Officer  of  the 
Guards,  .  .  .  comprising  the  Campaigns  of  1793,  I794>  and  the  Retreat 
through  Holland  to  Westphalia  in  1795.  ^  coloured  plates.  2  vols.  8vo, 
1796. 

Alexander  {Captain  fames).  Travels  to  the  Seat  of  War  in  the  East,  through 
Russia  and  the  Crimea,  in  1829.  20  plates,  of  which  9  are  aquatint,  plain 
and  coloured.     2  vols.  8vo,  1830. 

Alexander  {William).  Picturesque  Representations  of  the  Dress  and 
Manners  of  the  Austrians.     50  coloured  plates.     410,1813. 

Picturesque  Representations  of  the  Dress  and  Manners  of  the  Chinese. 

50  coloured  plates.     4to,  1814. 

Picturesque  Representations  of  the  Dress  and  Manners  of  the  English. 

50  coloured  plates,  probably  by  J.  A.  Atkinson.     4to,  18 14. 

Picturesque  Representations  of  the  Dress  and  Manners  of  the  Russians. 

64  coloured  plates.     4to,  18 14. 

Picturesque  Representations  of  the  Dress  and  Manners  of  the  Turks. 

60  coloured  plates.     8vo,  1814. 

3»5 


326  HISTORY  OF  AQUATINT 

Ali  Pacha  of  Jannina(the  Life  of).  Map,  line  portrait,  and  folding  aquatint 
frontispiece  by  J.  Clark  after  Theophilus  Richards,  jun.  8vo,  2nd 
edition.     1823. 

Algier,  Illustration  of  the  Battle  of,  August  27,  1816.     Plan  of  the  town  and 

3  coloured  aquatint  plates  by  Havell  after  W.  I.  Pocock.     Ob.  fol., 
1817. 

Aiken  {Henry).  Memoirs  of  John  Mytton,  by  Nimrod  (pseud,  for  C.  J. 
Apperley).  ist  edition,  8vo,  1835,  12  coloured  plates  ;  2nd  edition,  1837, 
18  coloured  plates  drawn  and  etched  by  H.  A.  and  T.  J.  Rawlins, 
aquatinted  by  E.  Duncan.     3rd  edition,  1851. 

National  Sports  of  Great  Britain.     50  coloured  plates  by  J.  H.  Clark 

after  Aiken.     Fol,  182 1. 

The  Life   of  a  Sportsman,  by   Nimrod  (pseud,  for  C.  J.  Apperley). 

36  coloured  plates  by  H.  A.,  many  containing  aquatint.     8vo,  1842. 

(pseud.  Ben  Tallyhd).     The  Art  and  Practice  of  Etching.     9  plates,  of 

which  4  are  aquatint.     8vo,  1849. 

Allan  {Captain).  Views  in  the  Mysore  Country.  20  plates  engraved  by 
Wells,  from  drawings  by  Capt.  A.     Ob.  fol.,  1794. 

Angela  {Henry).  Hungarian  and  Highland  Broadsword.  24  coloured  plates 
designed  and  etched  by  T.  Rowlandson,  aquatinted  by  L  Hill.  Ob. 
fol.,  1799. 

Annals  of  Sporting  and  Fancy  Gazette.  Plain  and  coloured  plates  by  Aiken, 
Cruikshank,  and  others.    13  vols.  8vo,  1822-28. 

A.P.D.G.     Sketches  of  Portuguese  Life.     20  coloured  plates.     8vo,  1826. 

Architectural  Recreations.  Being  a  Sequel  to  the  Geometrical  Recreations. 
13  plates,  of  which  11  are  aquatint.     i2mo,  2nd  edition,  1822. 

Aspin  {Jehosaphat).  The  Naval  and  Military  Exploits  which  distinguished 
the  Reign  of  George  the  Third.    35  coloured  plates.     i2mo,  1820. 

Atkinson  {James).  An  Account  of  the  State  of  Agriculture  and  Grazing  in 
New  South  Wales.     3  coloured  plates.     8vo,  1826. 

Atkinson  {John  Augustus).  A  Picturesque  Representation  of  the  Naval, 
Military  and  Miscellaneous  Costumes  of  Great  Britain.  100  coloured 
plates  by  J.  A.  A.     Fol.,  1807. 

The  Cutter,  in   5   Lectures  upon   the   Art   and   Practice   of  cutting 

Friends   and    Acquaintances    and    Relations.     6  coloured  plates   by 
J.  A.  A.     8vo,  1808. 

Poet,  Miser,  Virtuoso,  Hypochondriac.     4  coloured  plates  by  J.  A.  A. 

Fol.,  1824. 

Panoramic  View  of  St  Petersburg.      4  coloured  plates  by  J.  A.  A., 

I  ft.  4  in.  by  2  ft.  6  in.     Ob.  fol.,  1800. 

and  Walker  {James).    A  Picturesque  Representation  of  the  Manners, 

Customs,  and  Amusements   of   the    Russians.      100    coloured  plates 
drawn  and  etched  by  J.  A.  A.     3  vols,  fol.,  181 2. 

Audubon  (John  James).  The  Birds  of  America.  435  coloured  plates 
engraved,  printed,  and  coloured  by  R.  Havell,  after  drawings  by  J.  J.  A, 

4  vols,  elephant  fol.,  1827-38. 

Ayton  {Richard).  A  Voyage  round  Great  Britain.  308  coloured  plates  by 
W.  Daniell.  8  vols,  fol.,  1814-25.  Known  as  Daniell's  Voyage  round 
Great  Britain. 


APPENDIX  A  327 

Bakewell  {Robert).  Travels  in  the  Tarentaise.  Woodcuts  and  4  coloured 
plates  by  J.  Clark,  from  drawings  by  R.  B.     2  vols.  8vo,  1823. 

Barker  {B.).  English  Landscape  Scenery  chiefly  near  Bath.  48  coloured 
plates  by  T.  H.  Fielding.     Ob.  4to.     Bath,  1824. 

Barron  {Captain  Richard).  Views  in  India.  7  coloured  plates  by  R. 
Havell,  after  drawings  by  Capt.  R.  B.     Fol.,  1837. 

Barrow  {John).  Travels  in  China.  4  coloured  plates  by  T.  Medland,  after 
drawings  by  W.  Alexander.     4to,  1804. 

Travels  into   the   Interior   of   Southern   Africa.      8   coloured    plates 

engraved  by  T.  Medland,  after  S.  Daniell.      2  vols.  4to,  1806.      Issued 
first  in  1 80 1 -4  with  only  i  aquatint  plate. 

A  Voyage  to  Cochin  China  in  the  Years  1792  and  1793.     21  coloured 

plates  by  T.  Medland,  after  drawings  by  W.  Alexander  and  S.  Daniell. 
4to,  1806. 

Beatson  {Major-General  Alexander).  Tracts  relative  to  the  Island  of  St 
Helena.  6  plates  by  W.  Daniell,  from  drawings  by  Samuel  Davis. 
4to,  i8i6. 

View  of  the  Origin  and  Conduct  of  the  War  with  Tippoo  Sultaun,  with 

Narrative  of  the  Operations  of  the  Army  and  the  Siege  of  Seringapatam. 
Folding  plates.     4to,  1800. 

Beaumont  {Albanis  de).  Travels  through  the  Rhetian  Alps  in  the  Year  1786. 
10  plates.     Fol.,  1792. 

Select  Views  of  the  Antiquities  and  Harbours  in  the  South  of  France. 

Vignette  and  15  plates  from  drawings  by  A.  de  B.,  of  which  12  are 
aquatint,  2  by  S.  Aiken  and  10  by  C.  Apostool.     Fol.,  1794. 

Travels  through  the  Maritime  Alps.     18  plates  by  C.  Apostool,  from 

drawings  by  A.  de  B.     Fol.,  1795. 

Travels  from  France  to  Italy  through  the  Leopontine  Alps.     27  plates, 

of  which  24  are  aquatint.     Fol.,  1806. 

Beauties  of  the  Dutch  School,  Landscapes.  14  plates  from  Van  Goyen, 
Ostade,  Cuyp,  etc.     Ob.  fol.,  1793. 

Bellasis  {George  Hutchins).  Views  of  St  Helena.  6  coloured  plates  by 
R.  Havell,  after  drawings  by  G.  H.  B.     Ob.  fol,  181 5. 

Ben  Tally  ho.     See  H.  Aiken. 

Benson  {Robert).  Sketches  of  Corsica,  with  its  History,  and  Specimens  of 
the  Language  and  Poetry  of  the  People.  5  plates  by  J.  Clark,  of  which 
I  is  coloured.     8vo,  1825. 

Bentley  (C).  Picturesque  Tour  of  the  River  Thames.  24  coloured  plates 
and  2  vignettes  by  C.  Bentley,  J.  Bailey,  J.  Fielding,  and  R.  G.  Reeve. 
See  also  Westall  { W.)  and  Owen  {S.). 

Beresford  {James).  Sixteen  Scenes  taken  from  the  Miseries  of  Human  Life, 
by  One  of  the  Wretched.  Published  anonymously.  Title  and  16 
coloured  plates  by  J.  A.  Atkinson.     Sm.  ob.  4to,  1807. 

The  Pleasures  of  Human  Life.     5  coloured  plates  by  T.  Rowlandson, 

and  2  frontispieces.     i2mo,  1807. 

Berry  {William).  History  of  the  Island  of  Guernsey.  Map  and  29  plates 
by  J.  C.  Stadler,  after  W.  B.     4to,  181 5. 


328  HISTORY  OF  AQUATINT 

Blackmantle  (^Bernard)  (pseud,  of  Charles  Molloy  Westtnacott\  The  English 
Spy.  72  coloured  plates  by  R.  Cruikshank,  i  by  T.  Rowlandson, 
I  by  T.  Wageman,  and  i  by  G.  M.  Brighty.     2  vols.  8vo,  1825-6. 

Blagdon  (F.  W.).  A  Brief  History  of  Ancient  and  Modern  India.  68 
coloured  plates  by  Daniell,  Colonel  Ward,  Lieut.  J.  Hunter,  and  others. 
These  coloured  plates  were  issued  separately  as  Orme's  Views  of 
Hindostan  and  Hunter's  Scenery  of  Mysore.     Ob.  fol.,  1805. 

Authentic  Memoirs  of  the  late  George  Morland.    21  plates,  plain  and 

coloured,  of  which  one  only  is  an  aquatint  by  R.  Dodd  after  George 

Morland,  the  rest  being  in  soft  ground  etching,  mezzotint,  and  stipple. 
Ob.  fol.,  1806. 

History  of  the   Life,  Exploits,  and  Death  of  Horatio   Nelson.      16 

plates,  of  which  8  are  aquatint,  4  plain  by  Pickett  after  J.  Clark,  and 
4  coloured,  i  by  J.  Clark  and  H.  Merke  after  Turner,  i  by  J.  Godby 
after  W.  M.  Craig,  i  by  J.  Clark  and  J.  Hamble  after  W.  Orme,  and 
I  unsigned.     410,  1806. 

An  Historical  Memento  representing  the  Different  Scenes  of  Public 

Rejoicing  in  Celebration  of  the  Glorious  Peace  of  1814.  6  coloured 
plates  by  M.  Dubourg,  from  drawings  by  J.  H.  Clark.     Fol.,  1814. 

Book  of  Landscapes  and  Ruins.     4  plates.     Ob.  4to,  1800. 

Bory  de  St  Vincent  {/.  B.  G.  M.).  Voyage  to  and  Travels  through  the  Four 
Principal  Islands  of  the  African  Seas.  3  plates.  (Phillips'  Collection 
of  Voyages  and  Travels.)    8vo,  1805. 

Bowdich  (  Thomas  Edward).  Mission  from  Cape  Coast  Castle  and  Ashantee. 
10  coloured  plates.    4to,  1819. 

Bowyer  i^R.)  [Home,  T,  H.].  An  Illustrated  Record  of  Important  Events 
in  the  Annals  of  Europe.  Map  and  ig  coloured  plates.  Ob.  fol., 
1816. 

An  Impartial  Historical  Narrative  of  those  Momentous  Events  in  this 

Country  between  1816  and  1823.  8  plates,  of  which  3  are  coloured 
aquatints  by  M.  Dubourg.     Fol,  1823. 

Boydell's  Picturesque  Scenery  of  Norway.     See  Tooke  ( William). 

Bradford  (^Rev.  William).  Sketches  of  the  Country,  Character,  and  Costume 
in  Portugal  and  Spain.  With  Supplement.  56  coloured  plates  from 
drawings  by  the  Rev.  W.  B.  Fol.,  1809-10.  Other  editions,  i8ia  and 
181 3.     Issued  plain  and  coloured. 

Brayley  {E.  Westlake).  Historical  and  Descriptive  Accounts  of  the  Theatres 
of  London.  2  plans  and  14  plates,  drawn  and  engraved  by  D.  Havell. 
Issued  both  plain  and  coloured.     4to,  1826. 

and  Nash  {John).     Illustrations  of  Her  Majesty's  Palace  at  Brighton, 

to  which  is  prefixed  a  History  of  the  Palace.  36  plates  on  31  sheets,  of 
which  12  are  aquatint  (i  coloured)  and  the  rest  outline,  by  T.  Suther- 
land, F.  Lewis,  Robert  Havell,  jun.,  M.  Dubourg,  and  others,  chiefly 
from  drawings  by  A.  Pugin.     Fol.,  1838. 

Bridgens  {Richard).  Costumes  ;  Italy.  49  coloured  plates  by  R.  B,  4to, 
1820. 

The  Manners  and  Customs  of  France,  Switzerland,  and  Italy.      50 

coloured  plates  by  R.  B.    410,  182 1. 


APPENDIX  A  329 

British  Volunteer  (The) ;  or,  A  General  History  of  the  Formation  and 
Establishment  of  the  Volunteer  and  Associated  Corps.  4  plates,  drawn 
and  engraved  by  Charles  Tomkins.     4to,  1799. 

Britton  {/okn).  History  and  Description,  with  Graphic  Illustrations,  of 
Cassiobqry  Park.  22  aquatint  plates  by  R.  Havell,  after  J.  M.  W.  Turner, 
H.  Edridge,  A.  Pugin,  etc.    Folio,  1837.    Issued  both  plain  and  coloured. 

Brookshaw  {George).  Pomona  Britannica.  93  coloured  plates  in  stipple  and 
aquatint.     Atlas  fol.,  18 12. 

Broughton  {Rev.  Brian).  Picturesque  Views  in  North  Wales.  4  plates  by 
S.  Aiken,  after  drawings  by  Rev.  B.  B.  Fol.,  1798.  Another  edition, 
with  6  plates,  1801. 

Broughton  {Thomas  Duer).  The  Costume,  Character,  etc.,  of  the  Mahrattas. 
10  coloured  plates  by  J.  A.  Atkinson,  J.  Baxter,  and  H.  Moses.  From 
drawings  by  Deen  Alee.    4to,  1813. 

Bruce  {/.).  Select  Views  of  Brighton,  taken  on  the  spot  and  executed 
by  Mr  Bruce.  7  plates,  engraved  text,  and  plan  of  the  town.  Also 
issued  in  colours.  Published  by  the  Artist :  Brighton.  Ob.  4to, 
N.D.    (1829.) 

Bryant  {Joshua).  Treatise  on  the  Use  of  Indian  Inks  and  Colours. 
6  coloured  plates,  of  which  2  are  by  R.  B.  Harraden  and  4  by 
J.  Bluck.     1808. 

Buckingham  {James  Silk).  Travels  among  the  Arab  Tribes  East  of  Syria 
and  Palestine.  Map  and  Illustrations,  including  a  coloured  frontispiece 
in  aquatint.     4to,  1825. 

BuUiana :  a  Selection  of  the  Jeux  d'Esprits,  Facetiae  and  Anecdotes  of  Mr 
John  Bull.  Part  I.,  Mr  Ramsbottom's  Tour  from  England  to  France. 
Coloured  frontispiece  by  R.  Cruikshank.     i6mo,  n.d.  (1824). 

Bullock  {William  Henry).     Six  Months'  Residence  and  Travels  in  Mexico. 

Maps  and  16  plates,  of  which  4  are  coloured  by  J.  Clark,  chiefly  from 

drawings  by  W.  B.     8vo,  1824. 
Burchell  {William  John).      Travels   in  the    Interior  of  Southern   Africa. 

20  coloured  plates,  from  drawings  by  W.  J.  B.     2  vols.  4to,  1822-24. 

Burton  {Alfred)  (pseud,  of  John  Mitford).  The  Adventures  of  Johnny 
Newcome  in  the  Navy,  a  Poem  in  4  cantos.  16  coloured  plates  by 
T.  Rowlandson,  after  A.  B. ;  engraved  by  W.  Read.     8vo,  18 18. 

Bury  {Mrs  Edward).  A  Selection  of  Hexandrian  Plants.  51  coloured  plates 
from  drawings  by  Mrs  E.  B.,  engraved  by  R.  Havell.     Fol.,  1831-34. 

Bury  {Thomas  Talbot).  Coloured  Views  on  the  Liverpool  and  Manchester 
Railway.  1 5  coloured  plates,  chiefly  from  drawings  by  T.  T.  B.  ;  en- 
graved by  H.  Pyall  and  S.  G.  Hughes.  4to,  1831.  Another  edition, 
16  coloured  plates,  1833. 

Butcher  {Rev.  Edmund).  Sidmouth  Scenery.  24  coloured  plates  by  Havell. 
Roy.  8vo.     Sidmouth,  1817. 

Butler  {Samuel).   Hudibras.    12  coloured  plates  by  J.  Clark.   2  vols.  8vo,  18 19. 

Byron  {George  Gordon,  Lord).  Don  Juan,  Cantos  i.-v.  Vignette  portrait  of 
Byron  on  title  and  6  coloured  plates  by  J.  R.  Cruikshank.     8vo,  N.D. 

Cabinet  of  the  Arts  (32  monthly  parts).  A  few  coloured  aquatints  after 
Prout  and  others.     410,  181 9-21. 


330  HISTORY  OF  AQUATINT 

Caillard  (K).  Travels  in  the  Oasis  of  Thebes.  13  aquatint  plates  by 
W.  Read.     8vo,  1820. 

Caldcleugh  {Alexander).  Travels  in  South  America  during  the  Years 
1819-20-21.   Map  and  8  plates,  of  which  i  is  coloured.    2  vols.  8vo,  1825. 

Calvert  {Frederick).  Lessons  on  Landscape.  18  plates,  of  which  12  are 
aquatint,  plain  and  coloured.     Ob.  fol,  1815. 

Campbell  {Alexander).  Picturesque  Journey  from  Edinburgh  through  parts 
of  North  Britain.     44  plates.     2  vols.  4to,  1802. 

Campbell  {Rev.  John).  Travels  in  South  Africa.  12  coloured  plates  by 
J.  Clark  from  drawings  by  the  Rev.  J.  C.     2  vols.  roy.  8vo,  1822. 

Careless  {John,  Esq.).  The  Old  English  Squire.  24  coloured  plates.  4to, 
1821. 

Carey  {David).  Life  in  Paris.  21  coloured  plates,  designed  and  engraved 
by  G.  Cruikshank.     8vo,  1822. 

Carr  {Sir  John).  The  Stranger  in  France.  12  plates  by  T.  Medland  after 
drawings  by  J.  C.     4to,  1803. 

A  Northern  Summer;  or,  Travels  round  the  Baltic,  etc.,  in    1804. 

3  plates.     (Phillips'  Collection  of  Voyages  and  Travels.)    8vo,  1805. 

A  Northern  Summer  ;  or,  Travels  round  the  Baltic.    1 1  plates  engraved 

by  T.  Medland  from  drawings  by  J.  C.     4to,  1805. 

The  Stranger  in  Ireland.     Map  and   16  plates  by  T.  Medland  after 

drawings  by  J.  C.     410,  1806. 

A   Tour  through  Holland.     21  plates  from  drawings  by  J.  C.     4to, 

1807. 

Descriptive  Travels  in  Spain  and  the  Balearic  Isles.     6  plates  from 

drawings  by  J.  C.     4to,  181 1. 

Cassas  {Louis  Frangois).  Travels  in  I  stria  and  Dalmatia  drawn  up  from  the 
Itinerary  of  L.  F.  C.  by  Joseph  Lavallde.  6  plates.  (Phillips'  Collection 
of  Voyages  and  Travels.)    8vo,  1805. 

Catton  {Charles^  jun.).  Animals  drawn  from  Nature.  36  coloured  plates  by 
C.  C.     4to,  1788. 

Ceremonial  of  the  Coronation  of  King  George  IV.  Coloured  frontispiece 
and  39  coloured  plates,  in  which  mezzotint,  stipple,  and  aquatint  are 
employed.  (This  work,  published  by  Whittaker,  was  acquired  by 
Henry  Bohn,  together  with  Sir  George  Naylor's  "  Coronation  of  King 
George  IV.,"  and  published  together  in  one  volume  with  text  in  1837.) 
Fol.,  1823. 

Cervantes  {Miguel  de).  Don  Quixote.  Translated  by  C.  Jarvis.  24  coloured 
plates  by  J.  H.  Clark.     4  vols.  8vo,  181 9. 

Cervantes  as  a  Novelist.  Coloured  frontispiece.  3  coloured  plates  after 
Hayman's  designs.     8vo,  1822. 

Cervantes,  the  Spirit  of;  or,  Don  Quixote  abridged.  Another  edition  of 
the  above,  with  a  new  preface  and  4  instead  of  3  coloured  plates.  8vo, 
1822.     Reissued,  1831,  as  the  Spirit  of  Don  Quixote. 

Chamberlaine  {John).  Engravings  from  the  Original  Designs  by  Annibale, 
Agostino,  and  Ludovico  Caracci.  45  plates,  of  which  25  are  aquatint. 
Fol.,  1797- 


APPENDIX  A  331 

Cheltenham.  Six  coloured  plates  engraved  by  H.  Merke  and  J.  Bluck  after 
drawings  by  T.  Hulley.     4to,  18 13. 

Chinese  Puzzles.     12  plates.     Ob.  4to,  1820. 

Clark  {John).   Amateur's  Assistant.    10  plates,  of  which  4  are  aquatint.    4to, 

1826. 
Panorama  of  the  Thames.     See  also  Panorama. 

Picturesque  Views  of  Scotland,  1822-35.     32  plates,  large  folio. 

Clark  {John  Heaviside).  A  Practical  Essay  on  the  Art  of  Colouring  and 
Painting  Landscapes  in  Water  Colours.  10  plates,  6  of  which  are  coloured, 
by  J.  Hamble  after  J.  H.  C.     4to,  1807.     2nd  edition,  roy.  4to,  18 12. 

A   Practical   Illustration   of  Gilpin's   Day.      30   coloured  plates  by 

J.  H.  C.  after  W.  Gilpin.     FoL,  1824. 

Clark  {William).  Ten  Views  of  the  Island  of  Antigua.  10  coloured  plates 
from  drawings  by  W.  C.     Ob.  fol.,  1823. 

Clarke  {J.).  Views  of  the  Principal  Towns  of  Scotland.  36  coloured  plates. 
Fol.,  1822-25. 

Coates  {Rev.  Charles).  The  History  and  Antiquities  of  Reading.  6  plates 
drawn  and  engraved  by  Charles  Tomkins.     4to,  1802. 

Supplement  to  the  History  and  Antiquities  of  Reading,  i  folding- 
plate.     Sm.  fol.,  Reading,  1810. 

Cochrane  {Capt.  John  Dundas,  R.N.).  Narrative  of  a  Pedestrian  Journey 
through  Russia  and  Siberian  Tartary.  2  coloured  plates  by  J.  Clark, 
and  2  frontispiece  stipple  portraits  of  Capt.  and  Mrs  Cochrane.  2nd 
edition,  1824.     4th  edition,  2  vols.  8vo,  1825. 

Cockburn  {Lieut. -General  James).  A  Voyage  to  Cadiz  and  Gibraltar. 
Maps,  vignette,  and  22  coloured  plates.     2  vols.  8vo,  181 5. 

Colebrook  {Robert  H.).  Twelve  Views  of  Places  in  the  Kingdom  of  Mysore. 
12  coloured  plates  by  J.  W.  Edy  after  drawings  by  R.  H.  C.  Ob.  fol., 
c  1794.     2nd  edition,  1805. 

Collection  of  35  Coloured  Plates  of  English  Female  Costumes.  35 
coloured  plates.     8vo,  18 10. 

Combe  {  William).  The  History  of  the  River  Thames,  76  coloured  plates 
after  drawings  by  Joseph  Farington.  2  vols,  fol.,  1794.  Another 
edition,  1831-34. 

History  of  the  Abbey  Church  of  St  Peter's,  Westminster.     83  plates 

after  A.  Pugin,  Huett,  and  F.  Mackenzie,  of  which  80  are  aquatint, 
mostly  coloured,  by  J.  Bluck,  T.  Sutherland,  J.  Hamble,  F.  C.  Lewis, 
G.  Lewis,  and  others.     2  vols.  4to,  1812. 

The  Tour  of  Dr  Syntax  in  Search  of  the  Picturesque.     31  coloured 

plates  by  Rowlandson.  Roy.  8vo,  1812.  4  editions  in  181 2,  5th  edition 
1813,  6th  edition  1815,  7th  edition  1817,  8th  edition  1819. 

A  History  of  the  University  of  Oxford.     64  aquatint  plates  of  views, 

etc.,  after  W.  Westall,  A.  Pugin,  and  others,  by  J.  Bluck,  F.  C.  Lewis, 
D.  Havell,  R.  Reeve,  J.  Hill,  T.  Sutherland,  J.  C.  Stadler,  G.  Lewis, 
and  W.  Bennett.  The  costume  plates  and  portraits  are  in  line  and 
stipple.     2  vols.  4to,  1814. 

X 


332  HISTORY  OF  AQUATINT 

Combe  (  William).  A  History  of  the  University  of  Cambridge.  64  coloured 
aquatint  plates  of  views,  etc.,  after  W.  Westall,  A.  Pugin,  and  others, 
by  J.  C.  Stadler,  J.  Bluck,  D.  Havell,  R.  Reeve,  and  J.  Hill.  The 
costume  plates  and  portraits  are  in  line  and  stipple.     2  vols.  4to,  181 5. 

Life  of  Napoleon,  a  Hudibrastic  Poem  in  15  cantos,  by  Dr  Syntax. 

30  plates.     Engravings  by  G.  Cruikshank.     8vo,  1815. 

The  English  Dance  of  Death.     Title,  vignette,  and  72  coloured  plates 

by  T.  Rowlandson.     2  vols.  roy.  8vo,  181 5-16. 

The  Dance  of  Life.    26  coloured  plates  by  T.  Rowlandson.    Roy.  8vo, 

1817. 

The  Wars  of  Wellington.    30  coloured  plates  drawn  and  etched  by 

W.  Heath,  aquatinted  by  J.  C.  Stadler.     4to,  18 19. 

The  Tour  of  Dr  Syntax  in   Search   of   Consolation.      24   coloured 

plates  by  T.  Rowlandson.     Roy.  8vo,  1820. 

History  of  Madeira.     27  coloured  plates.     Roy.  8vo,  1821. 

The  Tour  of  Dr  Syntax  in  Search  of  a  Wife.     25  coloured  plates  by 

T.  Rowlandson.     Roy.  8vo,  1821. 

The   History  of  Johnny  Quae    Genus.      24   coloured    plates   by  T. 

Rowlandson.     Roy.  8vo,  1822. 

The  Three  Tours  of  Dr  Syntax.    80  coloured  plates  by  T.  Rowlandson. 

i6mo,  1823. 

and  Pyne  {IV.  H.).      History  of  the  Colleges  of  Winchester,  Eton, 

Westminster,  Charterhouse,  St  Paul's,  Merchant  Taylors,  Harrow, 
Rugby  and  Christ's  Hospital.  48  coloured  plates,  of  which  44  are 
aquatint  after  W.  Westall,  A.  Pugin,  and  others,  by  D.  Havell,  J.  C. 
Stadler,  J.  Bluck,  and  W.  Bennett.     4to,  1816.     Also  issued  separately. 

Costume  of  Portugal.     50  coloured  plates.     4to,  1814. 

Cox  {David).  A  Treatise  on  Landscape  Painting  and  Effect  in  Water 
Colours.  56  plates,  of  which  32  are  aquatint,  16  plain,  and  16  coloured 
by  R.  Reeve  from  drawings  by  D.  C.  Ob.  fol.,  1814.  Another  edition, 
1816. 

A  Series  of  Progressive  Lessons  intended  to  elucidate  the  Art    of 

Painting  in  Water  Colours.  14  plates,  of  which  4  are  plain  and  6 
coloured  aquatint.  4to,  18 16.  5th  edition,  1823  :  Frontispiece  and  18 
plates,  of  which  3  are  plain  and  8  coloured  aquatint.  Another  edition, 
1845  :  19  plates,  of  which  12  are  coloured  aquatint. 

Six  Views  of  the  City  of  Bath.     6  coloured  plates  engraved  by  Smart 

and  Sutherland  from  drawings  by  D.  C.     Ob.  folio,  1820. 

The  Young  Artist's  Companion.     Numerous  illustrations,  of  which  12 

are  plain  and  12  coloured  aquatint  by  R.  Reeve  and  T.  Sutherland. 
Ob.  4to,  1825. 

Crosse  {John).  Account  of  the  Grand  Musical  Festival  in  the  Cathedral  of 
York.  Plans  and  2  coloured  plates  by  E.  Finden  from  drawings  by 
John  Browne.      4to,  York,  1825. 

Cruikshank  {George).  Greenwich  Hospital,  a  Series  of  Naval  Sketches. 
Woodcut  vignettes  and  12  coloured  plates  by  G.  C,  of  which  2  are 
aquatint.    4to,  1826. 


APPENDIX  A  333 

Cruikshank  {Robert  Isaac).  Lessons  of  Thrift.   12  coloured  plates.  8vo,  1820. 

The   Wit's  Album  ;    or,    Pineapple  of  Literature.     12   vignettes  by 

R.  Cruikshank,  aquatinted  by  Joseph  Gleadah.     n.d. 

and  Williams  (C).     My  Cousin  in  the  Army  ;  or,  Johnny  Newcome  on 

the  Peace  Establishment.     15  coloured  plates  by  L  R.  C.  and  C.  W. 
Roy.  Bvo,  1822. 

Dallaway  {Rev.  Ja?nes).  Constantinople,  Ancient  and  Modern.  10  plates 
and  I  vignette  by  J.  C.  Stadler.     4to,  1797. 

Anecdotes  of  the  Arts  in  England,  large  unsigned  vignette  on  title- 
page.     8vo,  1800. 

Daniell  {Samuel).  African  Scenery  and  Animals.  30  coloured  plates  drawn 
and  engraved  by  S.  D.     Fol.,  1804. 

A  Picturesque  Illustration  of  the  Scenery,  Animals  and  Native  In- 
habitants of  the  Island  of  Ceylon.  12  coloured  plates  from  drawings 
by  S.  D.     Fol,  1808. 

Daniell  {Thomas  and  William).  Oriental  Scenery.  In  6  parts.  24  in  each 
part.  \st  Series — 24  Views  in  Hindostan,  i795-(97)  ;  2nd  Series — 
24  Views  in  Hindostan,  1797  ;  ^rd  Series — 24  Views,  1801  ;  4/^  Series — 
24  Views  in  Hindostan,  1807  ;  Antiquities  of  India,  2  parts,  with  24 
views,  i799-(i8o8)  (also  8vo,  1800);  Hindoo  Excavations  in  the 
Mountains  of  Ellora,  1803  (also  8vo,  1804).  144  plates.  Fol.,  1795- 
(1808). 

A  Picturesque  Voyage  to  India  by  the  Way  of  China.     50  coloured 

plates.     Ob.  4to,  18 10. 

Daniell  {William).  Animated  Nature.  50  plates  designed  and  engraved 
by  W.  D.    Ob.  fol,  i8og. 

A  Series  of  Views  of  London  and  the  Docks.      12  coloured  plates. 

Fol.,  1 81 2. 

Views  in  Bootan.    Title  and  6  coloured  plates  by  W.  D.,  from  drawings 

by  S.  Daniell.     Ob.  fol.,  18 13. 

The  Adventure   of  Hunchback  and  the  Stories   connected   with   it 

(from  the  Arabian  Nights  Entertainments).     17  plates  by  W.  D.  from 
drawings  by  R.  Smirke.     Fol.,  1814. 

Forty-two  Views  in  Scotland.     42  coloured  plates  drawn  and  engraved 

by  W.  D.     4to,  1 81 7- 1 8. 

Illustrations   of  the   Island   of  Staffa.     9   coloured  plates.     Ob.  4to, 

1818. 

Views  of  Windsor,  Eton  and  Virginia  Water.      12  coloured  plates. 

Fol.,  1820. 

Sketches  of  a  Voyager.     Frontispiece  and  24  plates  by  W.  D.     Fol., 

1830. 

A  Series  of  10  Views  of  Paulo  Penang  (Prince  of  Wales's  Island) 

from  pictures  by  Capt.  R.  Smith.     Engraved  and  coloured  by  W.  D. 
Elephant  fol.,  n.p.,  n.d. 

See  also  Ayton  {Richard). 

Darwin  {Dr  Erasmus).  The  Botanic  Garden,  Part  II.  Frontispiece  only 
aquatinted  by  S.  Aiken,  after  Emma  Crewe.     4th  edition.     4to,  1794. 


334  HISTORY  OF  AQUATINT 

Davenport  (  W^.  Historical  Portraiture  of  Leading  Events  in  the  Life  of 
Ali  Pacha.  6  coloured  plates  by  G.  Hunt,  from  drawings  by  W.  D, 
Sm.  fol.,  1823. 

Davie  {John  Constance).  Letters  from  Buenos  Ayres  and  Chili.  6  coloured 
plates.    8vo,  18 19. 

Deam  {Thomas  Doivnes  Wilmoi).  Sketches  in  Architecture,  consisting  of 
Original  Designs  for  Public  and  Private  Buildings.  16  plates  of  views 
(and  plans)  by  M.  Rosenberg,  after  T.  D.  W.  D.     4to,  1806. 

Sketches  in  Architecture,  consisting  of  Original  Designs  for  Cottages 

and  Rural  Dwellings.     20  plates  of  views  (and  plans)  by  M.  Rosenberg, 
after  T.  D.  W.  D.     4to,  1807. 

Derbyshire.  Six  Views  in  Derbyshire.  6  coloured  plates,  engraved  by 
J.  Bluck,  after  drawings  by  T.  Hofland  and  T.  Barber.  Ob.  fol., 
Nottingham,  1805. 

Dibdin  {Charles).  Observations  on  a  Tour  through  almost  the  whole  of 
England  and  a  considerable  Part  of  Scotland.  40  views  after  drawings 
by  Dibdin,  and  20  vignettes  after  drawings  by  Miss  Dibdin,  engraved 
by  Hill.     2  vols.  4to,  1802. 

Professional  Life  of  Mr  Dibdin.     Portrait  and  60  plates.     8vo,  N.D. 

Dodwell  {Edward).     Views  in  Greece.     30  coloured  plates.     Fol.,  182 1. 

Douglas  {Rev.  James).  Nenia  Britannica,  or  a  Sepulchral  History  of  Great 
Britain,  36  plates  by  H.  Rooke  and  J.  D.,  and  numerous  vigjnettes  by 
Stothard.     Fol.,  1793. 

UOyly  {Sir  Charles).  Tom  Raw,  the  Griffin.  25  coloured  plates.  8vo, 
1828. 

Dr  Comicus,  or  the  Frolics  of  Fortune,  by  a  Modern  Syntax.  1 5  coloured 
plates.  8vo,  N.D.  (1815).  Another  edition  (1820),  title  and  12  coloured 
plates.     Some  plates  signed  "  lUman  Sculp'." 

Dr  Prosody.  The  Tour  of  Dr  Prosody  in  Search  of  the  Antique  and  Pictur- 
esque.    20  coloured  plates  by  W.  Read.     8vo,  1821. 

Drawing-Book  of  Light  and  Shadow,  in  Imitation  of  Indian  Ink.  24  plates, 
of  which  16  are  by  T.  Sutherland  and  2  by  J.  Bluck.     Ob.  fol.,  1809. 

Dubois  {E.).  My  Pocket- Book  ;  or,  The  Stranger  in  Ireland,  ist  edition, 
1807,  without  plates.     2nd  ed.,  5  plates.    i2mo,  1808. 

Dubourg  {M.).  Views  of  the  Remains  of  Ancient  Buildings  in  Rome  and  its 
Vicinity.    26  coloured  plates.     Roy.  4to,  1820. 

Dulwich  Gallery.     50  coloured  plates  by  R.  Cockburn.     c.  1830. 

Earlom  {Richard).  A  Collection  of  Prints  after  the  Sketches  and  Drawings 
of  the  late  celebrated  Giovanni  Battista  Cipriani,  Esq.,  R.A.  50  plates 
by  R.  E.,  of  which  some  are  aquatint.     Fol.,  1789. 

Eben  {Major  Baron).  Swedish  Army.  6  parts.  24  coloured  plates  by 
N.  Heideloff  from  drawings  by  Major  B.  E.     4to,  1808. 

Eckstein  {John).  Picturesque  Views  of  the  Diamond  Rock,  taken  on  the 
spot  and  dedicated  to  Sir  Samuel  Hood,  K.B.,  Commodore  and  Com- 
mander-in-Chief of  His  Majesty's  Ships  and  Vessels  employed  in  the 
Windward  and  Charibbee  Islands.  Title  and  plate  of  portraits  in 
stipple.     14  coloured  plates  by  J.  C.  Stadler  after  J.  E.    Ob.  fol.,  1805. 


APPENDIX  A  335 

Egan  {Pierce).  Real  Life  in  London  ;  Adventures  of  Bob  Tallyho.  34 
coloured  plates  by  H.  Aiken,  T.  Rowlandson,  W.  Heath,  etc.  2  vols. 
8vo,  1821-22. 

Life  in  London.     36  coloured  plates  designed  and  etched  by  \.  R.  and 

G.  Cruikshank.     8vo,  1821. 

(pseud.  T.  Greenward).     The  Life  of  an  Actor.      27  coloured  plates 

drawn  and  engraved  by  Theodore  Lane.     8vo,  1825. 

Sporting  Anecdotes.    Coloured  plates,  of  which  2  are  aquatint,  by 

L  R.  Cruikshank.     8vo,  1825. 

Anecdotes  (Original  and  Selected)  of  the  Turf,  the  Chase,  the  Ring, 

and  the  Stage.     13  coloured  plates  designed  and  etched  by  Theodore 
Lane.     8vo,  1827. 

Finish  to  the  Adventures  of  Tom,  Jerry,  and  Logic.    Frontispiece  and 

35  coloured  plates.     8vo,  1830. 

Egerton  (M.).  Humorous  Designs.  5  coloured  plates  by  G.  Hunt.  Ob. 
fol.,  1825.     See  also  M.  E. 

Ellis  {Sir  Henry).  Journal  of  the  Proceedings  of  the  late  Embassy  to 
China.  7  coloured  plates  by  J.  Clark  after  the  Hon.  Charles  Abbot. 
4to,  1 81 7. 

Elphinstone  {Hon.  Mountsiuari).  An  Account  of  the  Kingdom  of  Cabul 
and  its  Dependencies.     14  coloured  plates.     4to,  181 5. 

Elsam  {Richard).  An  Essay  on  the  Rural  Architecture  of  England.  30 
plates.     4to,  1803.     2nd  edition,  1805. 

Hints  for  improving  the  Condition  of  the  Peasantry.      10   coloured 

plates.     4to,  18 16. 

Emerson  {James).  Letters  from  the  ^gean.  Aquatint  frontispiece  by  J. 
Clark.     2  vols.  8vo,  1829. 

Engelbach  {Lewis).  Letters  from  Naples  and  the  Campagna  Felice.  Title, 
and  17  coloured  plates  by  T.  Rowlandson.     Roy.  8vo,  181 5. 

Estcourt  {T.  H.  S.  Bucknall).  Views  in  the  Alhambra.  14  plates  by  W. 
Westall  from  drawings  by  T.  H.  S.  B.  E.     Ob.  fol.,  1833. 

Falconer  {  William).  The  Shipwreck  :  a  Poem  Engraved  title,  dedication, 
and  18  plates  by  Robert  Dodd.     i2mo,  181 1. 

Farington  {Joseph).  Views  of  the  Lakes,  etc.,  in  Cumberland  and  West- 
moreland, from  drawings  by  J.  F.  Text  in  French  and  English.  20 
coloured  plates.     Ob.  fol.,  1789.     Another  edition,  1816. 

Fellowes  {William  Dorset).  A  Visit  to  the  Monastery  of  La  Trappe  in 
1 81 7.  15  plates  by  J.  Clark,  from  drawings  by  W.  D.  F.,  of  which 
12  are  coloured  aquatint.     8vo,  18 18. 

Field  {Barron).  Geographical  Memoirs  on  New  South  Wales.  Maps, 
line  engravings,  and  aquatint  frontispiece.     8vo,  1825. 

Fielding  {Theodore  Henry  Adolphus).  Cumberland,  Westmoreland  and 
Lancashire.    44  coloured  plates  by  T.  H.  A.  F.     Fol.,  1822. 

Excursions  sur  les  Cotes  et  dans  les  Ports  de  Normande.     40  plates 

after  Bonington  and  others.     Fol.,  Paris,  1823-25. 

British  Castles,  or  a  Compendious  History  of  the  Ancient  Military 

Structures  of  Great  Britain.     25  coloured  plates     Ob.  4to,  1825. 


336  HISTORY  OF  AQUATINT 

Fielding  {Theodore  Henry  Adolphus).  Series  of  Views  in  the  West  Indies. 
8  coloured  plates  by  T.  H.  A.  F.  from  drawings  by  J.  Johnson.  Ob. 
fol.,  1827. 

Index  of  Colours  and  Mixed  Tints.     18  coloured  plates.     10  x  6,  1830. 

On  the   Theory  of  Painting.      8   plates,   of  which   2   are  aquatint. 

2nd  edition,  8vo,  1836. 

and  Walton  (/.).    A  Picturesque  Tour  of  the  English  Lakes.    Title 

and  48  coloured  plates  after  T.  H.  A.  F.  and  J.  W.     Imp.  410,  1821. 

Fielding  ( T.  H.  A.).  Picturesque  Description  of  the  River  Wye.  24  coloured 
aquatints  by  T.  H.  A.  F.  Folio,  182 1.  Re-issued,  with  only  12  plates 
slightly  reduced  in  size,  1841. 

Fitsclarence  {Lieut. -Col.  George).  Journal  of  a  Route  across  India,  through 
Egypt  to  England,  in  1817-18.  10  coloured  plates  by  R.  Havell  &  Son 
from  drawings  by  Lieut.-Col.  G.  F.     4to,  1819. 

Forbes  {James).  Oriental  Memoirs.  Numerous  engravings  and  22  col- 
oured aquatint  plates  after  drawings  by  J.  F.     4  vols.  4to,  1813-15. 

Forbin  {Coujtt).  Travels  in  Greece,  Turkey,  and  the  Holy  Land  in  1817-18. 
7  plates,  of  which  i  is  aquatint.  (Phillips'  Collection  of  Voyages  and 
Travels.)     8vo,  N.D. 

Travels  in  Greece,  Turkey,  and  the  Holy  Land,  in  1817-18.     Another 

edition.     Large  folding  frontispiece  by  Neele  &  Son.     8vo,  N.D. 

Travels  in  Egypt  in  1817-18.    6  plates,  of  which  i  is  aquatint.    8vo,  N.D. 

Forrest  {C.  R.).  Picturesque  Tour  along  the  Rivers  Ganges  and  Jumna. 
Map,  vignettes,  and  24  coloured  plates  from  drawings  by  C.  R.  F.,  en- 
graved by  T.  Sutherland  and  G.  Hunt.     Fol.,  1824. 

Forrester  {Alfred  Henry)  (pseud.  Alfred  Crowquilt).  Paris  and  Dover,  or 
To  and  Fro.     46  coloured  plates  by  Crowquill.     Ob.  4to,  1822. 

Foundling-Chapel  Brawl  (The),  a  Non-Heroic  Ballad.  3  plates,  of  which  i 
is  aquatint  by  James  Sayer.     4to,  1805. 

Foivler  {William).  Mosaic  Pavements,  Stained  Glass,  etc.  1799-1804,27 
coloured  plates,  line  and  aquatint ;  1809,  appendix,  with  27  coloured 
plates  ;  1824,  2nd  appendix,  with  26  coloured  plates. 

Francia  {Louis).  Imitations  of  Studies  of  Landscapes  by  T.  Gainsborough, 
T.  Hoppner,  T.  Girtin,  A.  W.  Calcott,  J.  Varley,  etc.  40  coloured  plates. 
Sm.  ob.  fol.,  1 8 10. 

Frankland  {Capt.  Charles  Colville).  Travels  to  and  from  Constantinople  in 
the  Years  1827  and  1828.  Many  plates,  including  13  aquatints,  2 
coloured,  by  J.  Clark,  after  R.  Frankland.     2  vols.  8vo,  1829. 

Frankland  {Robert).  Shooting.  8  coloured  plates  from  drawings  by  R.  F., 
engraved  by  R.  Woodman  and  C.  Turner.     Ob.  4to,  181 3. 

Franklin  {Sir  John).  Narrative  of  a  Journey  to  the  Shores  of  the  Polar  Sea, 
1819-22.  Maps  and  30  plates  by  Finden,  10  of  which  are  coloured 
aquatint.    4to,  1823. 

Fraser  {James  Baillie).  Journal  of  a  Tour  through  Part  of  the  Himalaya 
Mountains  and  to  the  Sources  of  the  Rivers  Jumna  and  Ganges.  8vo, 
1820.     20  coloured  plates  by  Havell  in  a  separate  volume.     Fol.,  1820. 

Views  of  Calcutta.    24  coloured  plates  by  R.  Havell,  F.  C.  Lewis,  and 

T.  H.  Fielding     Fol.,  1824-26. 


APPENDIX  A  337 

Gambado  {Geoffrey)  (pseud,  of  H.  W.  Bunbury).  Academy  for  Grown 
Horsemen.     27  coloured  plates.     i2mo,  1825. 

Gardner  {Rev.  John  and  R.,  jun.).  Views  taken  on  and  near  the  River  Rhine. 
32  coloured  plates.     Atlas  fol.,  1788.     Another  edition,  sm.  4to,  1791. 

Garneti  {Thomas,  M.D.).  Observations  on  a  Tour  through  the  Highlands. 
Map  and  52  plates  by  W.  Green  after  W.  H.  Watts.  2  vols.  4to,  1800. 
2nd  edition,  18 11. 

Gell  {Sir  William).  The  Topography  of  Troy  and  its  Vicinity.  45  coloured 
plates,  of  which  19  are  aquatint,  by  T.  Medland,  from  drawings  by 
W.  G.     Fol,  1804. 

Geography  and  Antiquities  of  Ithaca.     13  plates,  of  which  9  are 

aquatint,  by  P.  W.  Tomkins,  J.  H.  Wright,  and  J.  Bluck,     4to,  1807. 

Itinerary  of  Greece.     Many  plates,  of  which  4  are  aquatints,  3  by 

Sanson,  jun.,  i  by  J.  H.  Wright,  after  W.  G.     Sm.  fol.,  1810, 

Views  in  Barbary.     4  coloured  plates  by  R.  Havell  from  drawings  by 

W.  G.     Ob.  fol.,  181 5. 

Gentleman's  Magazine  of  Fashions,  Fancy  Costumes,  and  the  Regimentals 
of  the  Army.     Numerous  plates.     9  vols.  8vo,  1828-36. 

Geming  {Baron  von).  Picturesque  Tour  along  the  Rhine.  Translated  by 
J.  Black.  Map  and  24  coloured  plates  by  R.  Havell,  T.  Sutherland,  and 
others  after  M.  Schiitz.     Imp.  4to,  1820. 

Gessner  {Conrad).  Military  Evolutions.  30  plates  by  C.  Ziegler  and  J.  Bluck. 
Large  ob.  fol.,  1801. 

Ghost  Stories.     6  coloured  plates.     Post  8vo,  1823. 

Gillray  {James).  The  Genuine  Works  of  Gillray,  engraved  by  himself. 
Many  plates  in  mixed  aquatint  and  line.     2  vols,  fol.,  1830. 

Gilpin  { William).  Observations  on  the  River  Wye  and  Several  Parts  of 
South  Wales.     17  tinted  plates.     8vo,  1782.     Other  editions. 

Observations   relative  chiefly  to    Picturesque    Beauty  .  .  .  (on)  the 

Mountains  and  Lakes  of  Cumberland  and  Westmoreland.     30  tinted 
plates.     2  vols.  8vo,  1786.     Other  editions. 

Observations  relative  chiefly  to  Picturesque  Beauty  .  .  .  particularly 

the  Highlands  of  Scotland.     40  tinted  plates,  of  which  35  are  aquatint. 
2  vols.  8vo,  1789. 

Three  Essays  :  on  Picturesque  Beauty ;  Picturesque  Travel ;  and  on 

Sketching  Landscape.     6  plates.     8vo,  1792. 

Remarks  on  Forest  Scenery.     32  tinted  plates.     2  vols.   8vo,  1791. 

2nd  edition,  1794. 

Observations  on   the  Western   Parts  of    England,   etc.      18    tinted 

plates.     8vo,  1798.     2nd  edition,  1808. 

Observations  on  the  Coasts  of  Hampshire,  Sussex  and  Kent.     5  tinted 

plates.     8vo,  1804. 

Observations  on  Cambridge,  Norfolk,  Suffolk,  Esse.x,  and  North  Wales. 

20  tinted  plates.     8vo,  1809. 

Nature,  representing  the  Effect  for  a  Morning,  a  Noontide,  and  an 

Evening  Sun.    30  plates.     14x10.     1810. 


338  HISTORY  OF  AQUATINT 

Giriin  {Thomas).  A  Selection  of  Twenty  of  the  Most  Picturesque  Views  in 
Paris.  20  plates  drawn  and  etched  by  T.  G.,  aquatinted  by  F.  C.  Lewis, 
J.  B.  Harraden,  W.  Pickett,  and  J.  C.  Stadler.     Ob.  fol.,  1803. 

Gold  {Captain  Charles).  Oriental  Drawings,  sketched  between  the  years 
1 79 1  and  1798.  50  coloured  plates  by  J.  Hassell,  T.  Medland,  and 
others,  from  drawings  by  Capt.  C.  G.     4to,  1806. 

Goldsmith  {Oliver).  The  Vicar  of  Wakefield.  24  coloured  plates  by 
Rowlandson.     Roy.  8vo,  1817.     See  also  Newell. 

Gooch  {Thomas).     Life  and  Death  of  a  Racehorse.     6  plates.     1792. 

Gradus  ad   Cantabrigiam,  by  a  Brace  of  Cantabs.     6  coloured  plates  of 

Costume.     8vo,  1824. 
Graham  {Maria,  Lady  Callcott).     Three  Months  passed  in  the  Mountains 

East  of  Rome  during  the  Year  1819.     5  plates  engraved  by  J.  Clark, 

from  drawings  by  C.  L.  E.     8vo,  1820. 

Memoirs  of  the  Life  of  Nicolas   Poussin.      Portrait  and  i    plate  by 

J.  Clark  from  a  drawing  by  C.  L.  E.     8vo,  Edinburgh,  1820. 

Journal  of  a  Residence  in  Chile,  during  the  Year  1822,  and  a  Voyage 

from  Chile  to  Brazil  in  1823.    10  vignettes  in  line  and  14  plates,  including 
frontispiece  by  Finden,  after  M.  G.  ;  2  after  Augustus  Earle.    4to,  1824. 

Journal  of  a  Voyage  to  Brazil  and  Residence  there,  1821,  1822,  and 

1823.     9  vignettes  in  line  and  11  plates  engraved  by  Edward  Finden. 
4to,  1824. 

Green  {/.).  Poetical  Sketches  of  Scarborough.  21  coloured  plates  [by 
Rowlandson]  from  drawings  by  J.  G.,  aquatinted  by  J.  C.  Stadler  and 
J.  Bluck.     8vo,  1 8 13. 

Green  {J.  H.).  The  Complete  Aquatinter.  4  plates,  of  which  2  are  aqua- 
tint.    1st  edition,  sm.  4to,  1804  ;  3rd  edition,  18 10. 

Green  {William).  The  Tourist's  New  Guide  to  the  Lakes.  Map  and 
12  plates.     2  vols.  8vo,  Kendal,  18 19. 

Grindlay  {Capt.  Robert  Melville).  Scenery,  Costumes,  and  Architecture, 
chiefly  on  the  Western  Side  of  India.  36  coloured  plates  from  draw- 
ings by  Capt.  R.  M.  G.,  W.  Westall,  and  others,  engraved  by  G.  Hunt, 
R.  G.  Reeve,  T.  H.  Fielding,  and  others.  Some  plates  signed  "coloured 
by  J.  B.  Hogarth."     2  vols,  in  i.     410,1826-30. 

Grose  {F.  E.).  Antiquarian  Repertory.  A  few  unsigned  aquatints  in  the 
four  volumes.     4  vols.  4to,  1807-9. 

Guide  to  the  Watering  Places  on  the  Coast  between  the  Exe  and  the  Dart, 
including  Teignmouth,  Dawlish,  and  Torquay.  16  coloured  plates  by 
D.  Havell,  T.  Shury,  and  J.  C.  Stadler,  after  drawings  by  J.  R.  Noble. 
8vo,  Teignmouth,  1821. 

Hakewill  {James).  A  Picturesque  Tour  of  the  Island  of  Jamaica.  21 
coloured  plates  by  T.  H.  A.  Fielding  and  T.  Sutherland  from  drawings 
byj.  H.     Fol.,  1825. 

Hall  {Capt.  Basil).    Account  of  a  Voyage  of  Discovery  to  the  West  Coast 

of  Corea  and  the  Great  Loo-Choo  Island.     8  coloured  plates  by  Havell. 

4to,  1 818. 
Hamilton  {William).      Remarks   on   Several    Parts   of  Turkey.     Part  i, 

itgyptiaca.     Fol.,    1809.      Map  and  24  plates  in  separate  volume,  of 

which  I  is  aquatint  by  Theodore  Almucco. 


APPENDIX  A  339 

Harding  {J.  W.).     Sketches  in  North  Wales.     6  coloured  plates.     Sm.  fol., 

1810. 
Hardy  {Joseph).    A  Picturesque  and  Descriptive  Tour  in  the  Mountains  of 

the  High  Pyrenees.     24  coloured  plates  by  J.  H.     Roy.  8vo,  1825. 

Harley  {George).  First  Principles  of  Landscape  Drawing.  Frontispiece 
and  48  plates  from  drawings  by  G.  H.,  of  which  11  are  plain  and  12 
coloured  aquatint.     Ob.  4to,  1829. 

Harraden  (/?.).  Cantabrigia  Depicta.  23  plates,  of  which  i  only  is  line, 
by  J.  Hassell,  J.  Cartwright,  and  J.  Harraden,  after  drawings  by  R.  H. 
4to,  1803. 

Hassell  {John).  Tour  of  the  Isle  of  Wight  30  coloured  plates  drawn  and 
engraved  by  J.  H.     2  vols.  8vo,  1790. 

Picturesque  Guide  to  Bath,  Bristol  Hot- Wells,  the  River  Avon,  and 

the  adjacent  country.  16  plates,  engraved  by  J.  H.,  14  after  his  own 
drawings,  i  after  J.  Laporte,  and  1  after  J.  C.  Ibbetson.    8vo,  1793. 

Six  Views  from  Nature  in  Aquatinta.     Ob.  4to,  1797. 

Memoirs  of  the  Life  of  G.  Morland.     Portrait  and  7  plates.    4to,  1806. 

Beauties   of   Antiquity ;    or    Remnants    of    Feudal    Splendour    and 

Monastic  Times.     52  coloured  plates.     8vo,  1807-10. 

Aqua  Pictura.     76  coloured  plates  after  Turner,  De  Wint,  Cox,  Prout, 

and  others.     2nd  edition,  ob.  fol.,  181 3. 

Picturesque  Rides  and  Walks  with  Excursions  by  Water   30   Miles 

round  the  British  Metropolis.  120  coloured  plates,  60  by  and  after 
J.  H.,  and  in  vol.  ii.  the  majority  by  D.  Havell  after  J.  H.  2  vols.  i2mo, 
1817-18. 

The  Speculum  ;  or  Art  of  Drawing  in  Water  Colours.    3  plates,  of  which 

I  is  coloured  aquatint.     3rd  edition,  8vo,  18 18. 

Tour  of  the  Grand  Junction,  with  Description  of  Parts  of  Middlesex, 

etc.     24  coloured  plates.    8vo,  1819. 

The  Camera.     3  plates,  of  which  2  are  aquatint.     8vo,  1823. 

Excursions  of  Pleasure  and  Sports  on  the  Thames.     46  plates,  of  which 

30  are  coloured  aquatint.     i2mo,  1823. 

Havell  ( — ).     Devon  Views.     24  coloured  plates.     Ob.  4to. 

Havell  {Robert).  Twelve  Views  of  London.  12  coloured  plates  by  R.  H. 
&  Son.     Ob.  fol.,  1 82 1. 

A  Series  of  Picturesque  Views  of  Noblemen's  and  Gentlemen's  Seats. 

20  plates  ;  6  after  R.  H.,  6  after  C.  V.  Fielding,  others  after  J.  M.  W. 
Turner,  F.  Nicholson,  etc.     Fol.,  1823. 

The  Southern  Coast  of  Kent.     A  coloured  Panorama  about  18  feet  in 

length. 

Havell  {  William).    A  Series  of  Picturesque  Views  of  the  River  Thames  from 

the  Drawings  of  W.  H.     Engraved  title  and  12  coloured  plates.     Imp. 

fol.,  1 81 2. 
Hawker  {Lieut.-Col.  Peter).     Instructions  to  Young  Sportsmen  in  all  that 

relates  to  Guns  and  Shooting.    2  coloured  aquatint  plates  by  J.  C.  Stadler 

and  other  illustrations.     8vo,  18 14,  etc. 

Haygarth  {  William).  Greece,  a  Poem  in  Three  Parts.  9  plates  engraved 
by  C.  Turner  from  drawings  by  W.  H.     4to,  18 14. 


340  HISTORY  OF  AQUATINT 

Heam  <&-»  Walker.  British  Costumes.  227  plates,  mostly  coloured.  Ob 
fol.,  5  vols.,  1823-47. 

Heath  {William).     The  Life  of  a  Soldier.     18  coloured  plates.     410,1823. 

Military  Costume  of  the  British  Cavalry.     16  coloured  plates.     410, 

1820.     Another  edition,  1827. 

Heidelhoff  {Nikolaus).  Gallery  of  Fashion,  Vols,  i.-ix.  251  coloured  engrav- 
ings and  aquatints.     4to,  1 794-1 802. 

Heriot  {George).  A  Picturesque  Tour  through  the  Pyrenean  Mountains, 
Auvergne,  etc.  12  plates  by  W.  Read  and  F.  C.  Lewis  from  drawings 
by  G.  H.     4to,  1824. 

Travels  through  the  Canadas.     27  plates  by  J.  C.  Stadler  and  F.  C. 

Lewis.     4to,  1807.     Issued  also  coloured  in  folio. 

Historical  Sketch  of  Moscow.     12  coloured  plates.     410,1813. 

History  of  Richmond  in  the  County  of  York.  Aquatint  frontispiece  by  J.  C. 
Ibbetson,  jun.,  and  other  illustrations.     i2mo,  1814. 

Hobhouse  {John  Cam).  A  Journey  through  Albania  and  other  Provinces 
of  Turkey  in  Europe  and  Asia  to  Constantinople  during  the  Years  1809 
and  1810.  16  coloured  plates.  4to,  1813  ;  2nd  edition,  1813,  2  vols.  4to, 
17  plates. 

Hodges  {William).  Select  Views  in  India  drawn  on  the  Spot  in  the  Years 
1 780- 1 783.  (Text  in  French  and  English.)  48  coloured  plates  drawn 
and  engraved  by  W.  H.     Imp.  fol.,  1786. 

Hodson  {T.)  and  Dougall  {F.).     The  Cabinet  of  the  Arts.    1805. 

Hogarth  {  William).     An  Account  of  Five  Days'  Peregrination.     9  aquatint 

plates.     Fol.,  1782. 
Horse  Accomplishments.     12  coloured  plates  by  T.  Rowlandson  after  G.  M. 

Woodward.     Ob.  4to,  1799. 

Howitt  {Samuel).  Orme's  Collection  of  British  Field  Sports.  Title  and  20 
coloured  plates  by  J.  Clark,  H.  Merke,  J.  Godby,  W.  M.  Craig,  and 
T.  Vivares,  from  drawings  by  S.  H.     Ob.  fol.,  1807. 

Hughes  {Rev.  Thos.  Smart).  Travels  in  Greece  and  Albania.  Maps, 
vignettes,  and  plates,  of  which  2  are  aquatints  by  F.  C.  Lewis  after 
C.  R.  Cockerell.  2  vols.  4to,  1820.  2nd  edition,  1830,  2  vols.  8vo,  has 
in  addition  a  coloured  aquatint  frontispiece  unsigned. 

Hutton  {  William).  A  Voyage  to  Africa.  4  coloured  plates  by  J.  Clark  after 
drawings  by  W.  H.     8vo,  1821. 

Ibbetson  {Julius  Ccesar).  An  Accidence,  or  Gamut  of  Oil  Painting  for 
Beginners,  in  which  is  shown  the  Most  Easy  Way  of  Imitating  Nature, 
by  means  of  a  Simple  System, — the  result  of  many  Years'  Practice  ; 
with  a  Landscape  painted  in  Oil,  by  the  Author,  and  all  the  Tints 
in  Patterns.     8vo,  1805. 

Ireland  {Samuel).  A  Picturesque  Tour  through  Holland,  Brabant,  and  Part 
of  France.  2  vignettes  and  43  plates,  of  which  40  are  aquatint.  2  vols. 
8vo,  1790.  Second  edition,  1796,  with  entirely  new  illustrations,  viz., 
engraved  titles  and  47  plates  by  S.  I.  and  C.  Apostool  after  drawings 
by  the  former. 

Picturesque  Views  on  the  River  Thames.     50  plates.     2  vols.  roy.  8vo, 

1792.     Another  edition,  4to,  1801-2. 


APPENDIX  A  341 

Ireland  {Samuel).     Picturesque  Views  on  the  River  Medway.     Frontispiece 
and  29  plates.     Roy.  8vo,  1 793.     Also  issued  in  4to. 

Graphic  Illustrations  of  Hogarth  from  Pictures,  Drawings,  etc.,  in  the 

possession  of  S.  I.    109  plates,  of  which  some  are  aquatint.    2  vols.  4to, 
1794.     Another  edition,  1799. 

Picturesque  Views  on  the  Upper  or  Warwickshire  Avon.     32  plates,  of 

which  30  are  aquatint.     Roy.  8vo,  1795.     Also  issued  in  410. 

Picturesque  Views  on  the  River  Wye.     31  coloured  plates.     Roy.  8vo, 

1797.     Also  issued  in  4to,  with  61  plates. 

Oxfordshire.     8  plates.     Ob.  roy.  8vo,  1799. 

Picturesque  Views  with  an  Historical  Account  of  the  Inns  of  Court  in 

London  and  Westminster.     21  coloured  plates.     Roy.  8vo,  1800, 

Ireland  ( William  Henry).      Stultifera  Navis,  the  Modern  Ship  of  Fools. 
Coloured  frontispiece  by  J.  A.  Atkinson.     i2mo,  1807. 

Life  of  Napoleon   Bonaparte.      2   plates   of  portraits,  4  titles,  and 

25  coloured  plates  by  G.  Cruikshank.       After  drawings  by  himself, 
E.  Isabey,  Denon,  H.  Vemet,  and  others.     4  vols.  8vo,  1823-28. 


Jackson  {James  Grey).  Account  of  the  Empire  and  District  of  Suse. 
2  maps  and  1 1  plates  by  J.  C.  Stadler,  from  drawings  by  J.  G.  J.  4to, 
1809. 

Jacob  (  William).  Travels  in  the  South  of  Spain.  13  plates,  of  which  12  are 
coloured  aquatint.     4to,  1811. 

James  {John  Thomas).  Journal  of  a  Tour  in  Germany,  Sweden,  Russia,  and 
Poland.  19  plates,  of  which  12  are  aquatint  by  J.  Clark,  from  drawings 
by  J.  T.  J.    4to,  i8i6.     Other  editions,  1816,  1817,  1819. 

Jenkins  {James).  The  Martial  Achievements  of  Great  Britain  and  her 
Allies,  from  1799  to  181 5.  Dedication,  title-pages  and  50  coloured 
plates  by  T.  Sutherland,  J.  Hassell,  etc.,  from  drawings  by  W.  Heath. 
Roy.  4to,  1 8 14- 1 5. 

The  Naval  Achievements  of  Great  Britain  from  the  Year  1793  to  1817. 

55   coloured  plates  by  T.   Sutherland  and  J.  Bailey  from  drawings  by 
T.  Whitcombe  and  W.  I.  Pocock.     Roy.  4to,  18 16- 17. 

Johnson  {Lieut.-Col.  John).  Journey  from  India  to  England  through  Persia, 
Georgia,  Russia,  Poland,  and  Prussia.  13  plates  of  views  and  costume, 
of  which  some  are  coloured.    4to,  1818. 

An  Historical  and   Descriptive  Account  of  Antigua.      Maps  and  7 

coloured  plates  by  C.  Bentley,  G.  Reeve,  E.  Duncan,  T.  Fielding,  after 
drawings  by  Lieut.-Col.  J.  J.     Ob.  fol.,  1830. 

Johnston  {Robert).  Travels  through  Part  of  the  Russian  Empire  and  the 
Country  of  Poland.  Maps  and  17  coloured  plates  by  H.  E.  Dawe, 
C.  Williams,  F.  C.  Lewis,  J.  Gleadah,  C.  J.  Canton,  J.  Hill,  and  T.  Cart- 
wright,  from  drawings  by  R.  J.     410,  18 15. 

Johnstone  {Charles).  Chrysal ;  or  the  Adventures  of  a  Guinea.  Numerous 
coloured  plates.     3  vols.  8vo,  1821. 


342  HISTORY  OF  AQUATINT 

Josi  {Christian).  Collection  d'Imitations  de  Desseins  d'apr^s  les  principaux 
Maitres  Hollandais  et  Flammands  commencee  par  C.  Ploos  van  Amstel, 
continude  et  portee  au  nombre  de  Cent  Morceaux  .  .  .  par  C.  Josi, 
A  Amsterdam  et  a  Londres  ;  chez  C.  Josi,  42  Gerrard  Street,  Soho. 
100  plates,  of  which  many  are  aquatint,  plain  and  coloured.     FoL,  1821. 

Journal  of  a  Tour  in  Ireland  performed  in  August  1804.  1  plate.  (Phillips' 
Collection  of  Voyages  and  Travels.)    8vo,  1806. 

Jukes  {Francis).  A  Distinguished  Character  in  the  Pytchley  Hunt  (Dick 
Knight).  8  coloured  plates  by  F.  Jukes,  after  drawings  by  C.  Loraine 
Smith.     Ob.  fol.,  1790. 

Keppel  {Major  the  Hon.  George).  Narrative  of  a  Journey  across  the 
Balcan.     Coloured  frontispiece.    2  vols.  8vo,  1831. 

Personal  Narrative  of  a  Journey  from  India  to  England  by  Bussorah, 

Bagdad.    Map,  coloured  plates,  and  illustrations.     2  vols.  8vo,  1827. 

Koster  {Henry).  Travels  in  Brazil.  9  plates  by  J.  Clark,  ist  edition,  4to, 
1816;  2nd  editon,  2  vols.  8vo,  18 17. 

Kotzebue  {Moritz  v.).  Narrative  of  a  Journey  into  Persia,  translated  from 
the  German.     5  plates.     8vo,  1819. 

Landmann  {George).  Historical,  Military,  and  Picturesque  Observations 
on  Portugal.  75  coloured  plates  by  J.  C.  Stadler  after  drawings  by 
G.  L.     2  vols.  4to,  181 8. 

Latrobe  {Rev.  Christian  Ignatius).  Journal  of  a  Visit  to  South  Africa  in 
1815  and  1816.  12  plates  by  J.  C.  Stadler,  J.  Bluck,  and  D.  Havell. 
4to,  1818. 

Laurent  {Peter  Edmund).  Recollections  of  a  Classical  Tour  through  Various 
Parts  of  Greece,  Turkey,  and  Italy.     4  coloured  plates.     4to,  1821. 

Le  Sage  {Alain  Reni).  Gil  Bias.  Translated  by  T.  Smollett.  1 5  coloured 
plates  by  J.  Clarke.     3  vols.  8vo,  18 19. 

Legh  {Thomas).  Narrative  of  a  Journey  in  Egypt  and  the  Country  beyond 
the  Cataracts.     8  plates  by  J.  Clark  from  drawings  by  T.  L.     8vo,  1817. 

JO Eveque  {Henry).     Costume  of  Portugal.     50  coloured  plates.     4to,  1814. 

Lewis  {Frederick  Christian).  Picturesque  Scenery  of  the  River  Dart. 
3  etched  vignettes  and  36  aquatint  plates  drawn  and  engraved  by  F.  C.  L. 
Fol.,  1 82 1. 

The  World  Turned   Upside   Down,     28   pages   of  engravings   with 

letterpress,  some  in  aquatint,  by  F.  C.  L.,  after  Giuseppe  Salviati. 

Little  {Thomas).  Confessions  of  an  Oxonian.  36  coloured  plates  by 
Findlay.     3  vols.  i2mo,  1826. 

London  Singer's  Magazine  and  Reader's  Album.  Coloured  frontispiece  only 
in  aquatint.  Portraits  and  illustrations  by  Cruikshank,  J.  Jones, 
Findlay,  etc.     2  vols.  8vo,  n.d. 

Lorraine  {Claude).  The  Museum  Claudes,  4  parts.  Title  and  100  plates,' 
some  partly  coloured,  by  F.  C.  Lewis  after  C.  L.     Folio,  1837-40. 

Loutherbourg  {Phillippe  Jacques  de).  Picturesque  Scenery  of  Great  Britain. 
Frontispiece  and  6  coloured  plates  by  J.  C.  Stadler  after  drawings  by 
P.  J.  de  L.     Fol.,  1 801. 


APPENDIX  A  343 

Loutherbourg  {Phillippe  Jacques  de).  The  Romantic  and  Picturesque 
Scenery  of  England  and  Wales.  i8  coloured  plates  engraved  by 
W.  Pickett  and  coloured  by  J.  Clark  from  drawings  by  P.  J.  de  L.  Fol., 
1805. 

Lugar  {Robert).  Architectural  Sketches  for  Cottages,  Rural  Dwellings,  and 
Villas.     21  coloured  plates  and  16  plans.     4to,  1805. 

Plans  and  Views  of  Buildings  executed  in  England  and  Scotland.   32 

plates,  of  which  18  are  aquatint,  7  being  by  M.  Dubourg.     4to,  1823. 

Lyall  {Robert).  The  Character  of  the  Russians  and  a  Detailed  History  of 
Moscow.  12  plates,  mostly  by  E.  Finden,  of  which  1 1  are  coloured  from 
drawings  by  Lavrof.    4to,  1823. 

Lycett  (y.)  Views  in  Australia.  50  plates  of  which  some  are  coloured,  Ob. 
fol.,  1824. 

Lysons  {Samuel).  An  Account  of  Roman  Antiquities  discovered  at  Wood- 
chester.     40  plates,  of  which  some  are  coloured.     Roy.  atlas  fol.,  1797. 

Figures  of  Mosaic  Pavements  discovered  at  Hawkstow  in  Lincoln- 
shire.    7  coloured  plates,  of  which  3  are  aquatint.    Roy.  fol.,  1801. 

Reliquise  Britannico-Romanae.     26  plates  in  vol.  i.,  in  mixed  line  and 

aquatint  plain  and  coloured.      42    plates   in   vol.  ii.,  with  very  little 
aquatint.     2  vols,  fol.,  1801. 

M^Keevor  {Thomas).  A  Voyage  to  Hudson's  Bay  during  the  Summer  of 
1812.  6  plates,  of  which  5  are  aquatint.  (Phillips'  Collection  of  Voyages 
and  Travels.)    8vo,  18 19. 

M^Leod  {Johti).  Narrative  of  a  Voyage  in  the  "  Alceste  "  to  the  Yellow 
Sea,  along  the  Coast  of  Corea  and  the  Island  of  Lewchew.  Portrait 
and  4  coloured  plates  by  J.  Clark,  after  J.  M.  and  Lieut.  W.  H.  Dwarris. 
8vo,  181 7  ;  2nd  edition,  181 8. 

Mackenzie  {Sir  George  Steuari).  Travels  in  the  Island  of  Iceland  during 
the  Summer  of  the  Year  1810.  11  coloured  plates  by  J.  Clark.  4to, 
Edinburgh,  1812. 

Malton  {James).     A   Picturesque   and  Descriptive  View  of   the   City  of 
Dublin.      Title,    map,    and    25    coloured   plates.      Ob.   fol.,   Dublin, 
1794-95.     Issued  plain  and  coloured. 

An  Essay  on  British  Cottage  Architecture.     21    plates,  drawn  and 

engraved  by  J.  M.     4to,  1798  ;  2nd  edition,  with  23  plates,  1804. 

The  Young  Painter's  Maulstick.     24  plates,  of  which  20  are  aquatint. 

4to,  1800. 

A  Collection  of  Designs  for  Villas  and  Rural  Retreats.     34  plates 

drawn  and  engraved  by  J.  M.     4to,  1802. 

Malton  {Thomas).  A  Picturesque  Tour  through  the  Cities  of  London  and 
Westminster.     100  plates.     2  vols,  in  i.     Fol.,  1792. 

Geometry.     Many  plates  of  Diagrams.     8vo,  1793. 

Views  of  Oxford.      4  parts.     24  plates.      Fol.,  1805.     Another  edition 

with  30  plates,  1 8 10.  •    ^ '" 

Manby  {George  William).  History  and  Beauties  of  Clifton,  etc.  18  plates. 
8yo,  1806. 


344  HISTORY  OF  AQUATINT 

Manskirsch  {Franz  Joseph).  Ackermann's  New  Drawing  Book.  Title 
and  24  plates  drawn  and  engraved  by  F.  J.  M.     Ob.  fol.,  1808. 

Coloured  Views  of  Parks  and  Gardens.      8  coloured  plates.      Imp. 

fol.,  18 1 3. 

Mathison  {Gilbert  Farguhar).  Narrative  of  a  Visit  to  Brazil,  Chile,  Peru, 
etc.     4  coloured  plates.     8vo,  1825. 

Maton  {William.  George).  Observations  relative  chiefly  to  the  Natural 
History,  Picturesque  Scenery  and  Antiquities  of  the  Western  Counties 
of  England.     16  plates  by  S.  Aiken.    2  vols,  in  i.    8vo,  Salisbury,  1797. 

Maximilian  {Prince).  Travels  in  Brazil,  1815-1817.  8  plates,  of  which  i 
is  aquatint.     (Phillips'  Collection  of  Voyages  and  Travels.)    8vo,  1820. 

Mayer  {Lui^i).  Views  in  Egypt.  24  coloured  plates  by  Thomas  Milton. 
Fol.,  1801  ;  another  edition,  with  48  coloured  plates,  1801. 

Views  in  Turkey  in  Europe  and  Asia.     65  coloured  plates  by  William 

Watts,  from  drawings  by  L.  M.     Imp.  fol,  1801. 

Views  in  the  Ottoman  Empire.     24  coloured  plates.     Fol.,  1803. 

Views  in  Palestine.     24  coloured  plates.     Fol.,  1804. 

Views  in  the  Ottoman  Dominions.     71  plates.     Fol.,  18 10. 

M.  E.  [M.  Egertonl.  CoUinso  Furioso,  or  Matters  to  Tatters.  Frontis- 
piece and  12  coloured  plates  by  G.  Hunt  from  drawings  by  M,  E. 
4to,  1825. 

Airy  Nothings.     23  coloured  plates,  engraved  by  H.  Pyall  and  G. 

Hunt  from  drawings  by  M.  E.     4to,  1825. 

Here,  There,  and  Over  the  Water :  Being  Cullings  in  a  Trip  to  the 

Netherlands  by  Omnium  Gatherum.  27  plates,  of  which  24  are 
coloured,  engraved  by  George  Hunt  from  drawings  by  M.  E.,  4to,  1825. 
See  also  Egerton,  M. 

Merigot  (_/.).  The  Amateur's  Portfolio,  or  the  New  Drawing  Magazine. 
Numerous  plates,  plain  and  coloured,  including  1 1  coloured  studies  of 
flowers  and  shells.     2  vols.  4to,  18 16. 

Select   Collection   of  Views   and   Ruins   in   Rome   and  its   Vicinity, 

executed  from  Drawings  made  on  the  Spot  in  1791.  62  plates.  4to,  1797. 

Metz  {Conrad  Martin).  Imitations  of  Ancient  and  Modern  Drawings 
from  the  Restoration  of  the  Arts  in  Italy  to  the  Present  Time. 
115  plates,  in  which  aquatint  is  largely  used.     Fol.,  1798. 

Meyrick  {Samuel  Rush).  A  Critical  Enquiry  into  Antient  Armour.  80 
coloured  plates,  3  vols,  fol.,  1824,  Some  plates  have  "aquatinted  by 
Charles  Hunt." 

and  Smith  {C.  Hamilton).     The  Costume  of  the  Original  Inhabitants  of 

the  British  Islands  from  the  Earliest  Periods  to  the  Sixth  Century.  24 
coloured  plates  by  R.  Havell  after  drawings  by  C.  H.  S.  Fol.,  1814. 
Companion  to  Smith's  Antient  Costume  of  Great  Britain. 

Middleton  {/./■)■  Grecian  Remains  in  Italy.  22  coloured  plates,  of  which 
20  are  by  M.  Dubourg  and  2  by  J.  Jeakes.     Fol,  1812. 

Miles  {E.)  and  Miles  {Lieut.  L.).  Epitome,  Historical  and  Statistical, 
Descriptive  of  the  Royal  Naval  Service  of  England.  8  coloured  plates 
by  N.  S,  Fielding,  after  drawings  by  W.  Knell.     8vo,  1841. 


APPENDIX  A  345 

Military  Costume  of  Turkey  (The).     Frontispiece  and  30  coloured  plates  by 

J.  H.  Clark.     4to,  1818. 
Mitchell  {Robert).      Sellwood  Park.      3  coloured  plates  and  ground  plan. 

1 801. 

Plans,  etc.,  of  Buildings  erected  in  England  and  Scotland.     (Text  in 

French  and  English.)     18  plates,  of  which  12  are  coloured.     Fol.,  1801. 

Moleville  {Bertrand  de).  The  Costume  of  the  Hereditary  States  of  the 
House  of  Austria.  Translated  by  R.  C.  Dallas.  50  coloured  plates. 
4to,  1804. 

Mollien  {Gaspard  Theodore).  Travels  in  the  Interior  of  Africa.  Map, 
portrait,  and  6  plates.     4to,  1820. 

Travels  in  the  Republic  of  Columbia.     Map  and  i  plate  by  J.  Clark. 

8vo,  1824. 

Moore  {Joseph).  The  Burmese  War.  Frontispiece  and  24  coloured  plates 
by  H.  Pyall,  G.  Hunt,  and  T.  H.  Fielding,  from  drawings  by  J.  M.  and 
Capt.  Marryat.    Ob.  fol.,  1826,  and  2  vols,  of  text  by  Capt.  Marryat,  4to. 

Mora  (_/.  J.  de).  Museo  Universal  de  Ciencas  y  Artes.  Numerous  plates, 
one  of  which  is  a  coloured  aquatint.  2  vols.  8vo.  London  and  Mexico, 
1825-6. 

Morier  {James).  A  Journey  through  Persia  to  Constantinople.  25  plates 
from  drawings  by  J.  M.     4to,  1812. 

Morier  {James).  Illustrations  of  Persia.  48  plates  from  drawings  by  J.  M., 
of  which  32  are  aquatint  ;  28  plain  (10  by  T.  H.  A.  Fielding),  and 
4  coloured  (3  by  T.  H.  A.  Fielding  and  i  by  H.  Aiken).     4to,  1818. 

A  Second  Journey  through  Persia.     19  plates  from  drawings  by  J.  M., 

of  which  16  are  aquatint  ;  13  plain  (12  by  Fielding  and  i  by  H.  Aiken) 
and  3  coloured  (i  of  which  is  by  T.  H.  A.  Fielding).     4to,  1818. 

Mornay  ( — ).  A  Picture  of  St  Petersburgh,  etc.  20  coloured  plates  by 
Clark  and  Dubourg  from  drawings  by  M.     Fol.,  181 5. 

Morris  {Richard).  Essays  on  Landscape  Gardening.  6  plates  plain  and 
coloured.     4to,  1825.     After  drawings  by  R.  M. 

Morton  {Henry).  Views  Illustrative  of  Hastings  and  its  Vicinity.  25  plates, 
drawn  and  engraved  by  H.  M.     Ob.  fol.,  1817. 

Mudjord  {William).  An  Historical  Account  of  the  Campaign  in  the 
Netherlands  in  181 5.  Plan,  map,  and  28  coloured  plates.  From 
drawings  by  J.  Rouse,  G.  Cruikshank,  and  C.  C.  Hamilton  ;  etched 
by  G.  Cruikshank  and  aquatinted  by  J.  Rouse.     4to,  181 7. 

Nctsh  {Frederick).  A  Series  of  Views  of  the  Collegiate  Chapel  of  St  George 
at  Windsor.  Plan,  vignette,  and  9  aquatint  plates,  drawn  and  etched 
by  F.  N.,  engraved  by  F.  C.  Lewis  and  others.     Fol.,  1805. 

Nash  {John).  The  Royal  Pavilion  at  Brighton.  28  coloured  aquatint 
plates  and  26  outlines,  by  J.  Cleghorn,  T.  Kearnan,  J.  Tingle,  C.  Moore, 
H.  le  Keux,  etc.,  from  drawings  by  A.  Pugin  and  others.  One  plate  is 
signed  "aquatinted  by  T.  Sutherland."     Fol.,  N.P.,  1820. 

Nattes  {John  Claudius).  Oxford  delineated.  Parts  I.  and  II.  (all  published). 
3  vignettes  and  4  coloured  plates  by  J.  Merigot  and  F.  C.  Lewis,  after 
J.  C.  N.  and  Pugin.     Imp.  fol.,  1805. 

Select  Views  in  Bath.      2  vignettes  and  28  coloured  plates  by  J.  Hill, 

after  J.  C.  N.     Fol.,  1806. 


346  HISTORY  OF  AQUATINT 

Nattes  {John  Claudius).  Views  of  Versailles,  Paris,  and  St  Denis.  40  plates 
by  J.  Hill  after  J.  C.  N.,  issued  both  plain  and  coloured.     FoL,  1809. 

Naval  Chronicle.  Numerous  portraits  and  plates  of  Sea-fights,  etc.  40  vols. 
roy.  8vo,  1 799-1818. 

Naval  Officer  {A).  The  Adventures  of  a  Post  Captain.  Vignette  and  24 
coloured  plates  by  Williams.     8vo,  1817. 

A  Cruise,  or  Three  Months  on  the  Continent.     4  coloured  plates.    8vo, 

1818. 

Naval  Victories  of  Gt.  Britain  from  1803  to  18 16.  43  coloured  plates  from 
drawings  by  T.  Whitcombe.     Folio,  N.D.,  N.P.  (circa  1820). 

Naylor  {Sir  George).  The  Coronation  of  His  Most  Sacred  Majesty  King 
George  IV.  4  wood  engravings  and  25  coloured  plates,  of  which  some 
are  aquatint,  by  F.  C.  Lewis,  R.  Havell,  M.  Dubourg,  W.  Bennett,  and 
others,  after  C.  Wild  and  J.  StephanofF.      Fol.,  1824. 

Nelson's  Funeral  Procession.  4  coloured  plates  from  drawings  by  C.  A. 
Pugin,  engraved  by  J.  Merigot,  Hill,  and  F.  C.  Lewis  ;  also  2  from  draw- 
ings by  M'Quin,  engraved  by  R.  Ackermann.     Fol.,  1806. 

Newell  {Rev.  Robert  Haselt).  Poetical  Works  of  Oliver  Goldsmith.  6  plates 
by  S.  Aiken.     4to,  1820. 

Nicholson  {Francis).  The  Practice  of  Drawing  and  Painting  Landscapes. 
5  plates,  of  which  3  are  aquatint,  by  T.  H.  Fielding,  after  drawings  by 
F.  N.     4to,  1820.     2nd  edition,  1823. 

Nicholson  {William).  History  of  the  Wars  occasioned  by  the  French 
Revolution.  Frontispiece  of  the  Battle  of  Waterloo,  and  19  equestrian 
portraits,  coloured.     Roy.  fol,  18 16. 

Nightingale  {T.).  Oceanic  Sketches.  6  plates,  of  which  5  are  aquatint,  4 
plain,  and  i  coloured  by  E.  Clark,  from  drawings  by  T.  N.     8vo,  1835. 

Nimrod.     See  Aiken  {H.). 

Noble  {Thomas).  Practical  Perspective.  Coloured  frontispiece  and  12 
plates  by  John  Clark,  one  of  which  is  coloured.     4to,  1809. 

Northern  Cambrian  Mountains  (The),  or  A  Tour  through  North  Wales. 
41  coloured  plates,  of  which  40  are  aquatint,  including  23  by  D.  Havell 
and  9  by  T.  H.  Fielding.  Engraved  from  Original  Drawings  by  J.  M.  W. 
Turner,  Compton,  G.  F.  Robson,  J.  Gandy,  F.  Nicholson,  and  others. 
Fol.,  1820. 

Orme  {Edward).  An  Essay  on  Transparent  Prints.  Numerous  plates,  of 
which  4  are  aquatint.     4to,  1807. 

Historic,   Military,  and   Naval  Anecdotes  of  Personal  Valour,  etc., 

which  occurred  to  the  Armies  of  Great  Britain  and  her  Allies  in 
the  last  long-contested  War  terminating  with  the  Battle  of  Waterloo. 
40  coloured  plates,  of  which  31  are  by  M.  Dubourg,  7  by  J.  Clark  and 
M.  Dubourg,  and  2  by  W.  T.  Fry  and  T.  Sutherland,  from  drawings  by 
J.  A.  Atkinson,  F.  J.  Manskirsch,  J.  H.  Clark,  W.  .Heath,  and  others. 
4to,  1 8 18. 

History  of  the  Life,  etc.,  of  Horatio  Nelson.     See  Blagdon  {F.  W.). 

Oxford.  Views  of  all  the  Colleges,  Halls,  and  Public  Buildings  in  the 
University  and  City  of  Oxford.  42  plates  in  mixed  etching  and  aquatint. 
Ob.  i2mo  (c.  1803). 


APPENDIX  A  347 

Pallas  {Peter  Simon).  Travels  through  the  Southern  Provinces  of  the 
Russian  Empire,  in  the  years  1793  and  1794.  2  vols.  4to,  1802-3. 
2nd  edition,  with  121  plates,  most  of  which  are  coloured,  1812. 

Panorama  of  the  Thames  from  London  to  Richmond,  65  ft.  by  8  in.    S.  Leigh 

[c.  1830].     Issued  plain  and  coloured. 
Papworth  {John  Buonarotti).    Select  Views  of  London.     76  coloured  plates. 

4to,  1 8 16. 

Rural  Residences.     27  coloured  plates.     Imp.  8vo,  1818. 

Hints  on  Ornamental  Gardening.     28  plates,  of  which  27  are  coloured. 

Imp.  8vo,  1823. 

Parkyns  {G.  J.).  Monastic  Remains  of  Ancient  Castles  in  England  and 
Wales.     60  plates  by  G.  J.  P.,  from  drawings  by  J.  Moore.     8vo,  1792. 

Monastic  and  Baronial   Remains.      100  tinted  plates.     2   vols.   8vo, 

1 8 16. 

Parry  {Sit  William  Edward).    Journals  of  Two  Voyages  for  the  Discovery 

of  a  North- West  Passage.     60  plates  in  aquatint  and  line,  of  views, 

costume,  etc.     2  vols.  4to,  1821-24. 
Pasquin  {Peter).    A  Day's  Journal  of  a  Sponge.     6  coloured  plates.     Fol., 

1824. 
Peake  {R.  B.).    The  Characteristic  Costume  of  France.     Frontispiece  and 

18  coloured  plates  by  R.  B.  P.,  4  of  which  are  signed  "aquatinted  by 

R.  Havell."    4to,  18 19. 
Perry  {George).     Conchology,  or  the  Natural  History  of  Shells.    61  coloured 

plates,  engraved  and  coloured  by  John  Clarke.     Fol.,  181 1. 
Phillips  {Giles  Firman).     Principles  of  Effect  and  Colour  as  applicable  to 

Landscape  Painting.    8  plates,  of  which  6  are  coloured.     Ob.  4to,  1833. 

3rd  edition,  1838. 

A  Practical  Treatise  on  Drawing  and  on  Painting  in  Water  Colours. 

Frontispiece  and  20  plates,  by  R.  G.  and  A.  W.  Reeve,  of  which  the 
frontispiece  and  14  are  aquatint,  7  being  coloured.     8vo,  1839. 

Pickett  { William).    Studies  for  Landscape.     24  coloured  plates  divided  into 

96  specimens.     Ob.  folio,  18 12. 
Picturesque  Description  of  North  Wales,  embellished  with  20  Select  Views 

from  Nature.     20  coloured  plates.     Sm.  ob.  fol.,  1823. 

Picturesque  Tour  through  the  Oberland  in  the  Canton  of  Berne  in  Switzer- 
land.    Map  and  17  coloured  plates.     Roy.  8vo,  1823. 

Plaw  {John).  Rural  Architecture.  62  plates  from  drawings  by  J.  P.,  of 
which  some  are  signed  "F.  Jukes."     4to,  181 1. 

Pocock  {Lieut.  William  Inttes).  Five  Views  of  the  Island  of  St  Helena  and 
a  Concise  Account  of  the  Island.  5  coloured  plates  by  T.  Sutherland 
from  drawings  by  Lieut.  W.  I.  P.    Ob.  fol.,  1815.    Another  edition,  1845. 

Architectural  Designs  for  Rustic  Cottages,  etc.    32  plates,  of  which  25 

are  aquatint.     4to,  1 807. 

Poetical  Magazine.      Numerous  plates,  some  of  which  are  aquatint.     4  vols. 

8vo,  1 809- 1 1. 
Porter  {Sir  Robert  Ker).     Travelling  Sketches  in  Russia  and  Sweden.    41 

coloured  plates  by  J.  C.  Stadler,  from  drawings  by  R.  K.  P.     Roy.  4to, 

1809. 

Travels  in  Georgia,  Persia,  Armenia,  Ancient  Babylonia,  etc.     Maps 

and  87  plates,  of  which  29  are  aquatint,  by  J.  Clark.     2  vols.  4to,  1821. 


348  HISTORY  OF  AQUATINT 

Portsmouth.   Four  coloured  plates  from  drawings  by  W.  H  eath.  O  b.  4to,  1 8 1 8. 

Pouqueville  {Francois  Charles  Hugues  Lament).  Travels  through  the  Morea 
and  Albania.  2  plates,  i  of  which  is  aquatint.  (Phillips'  Collection  of 
Voyages  and  Travels.)     8vo,  i8o6. 

Prior  {James).  A  Voyage  along  the  Eastern  Coast  of  Africa,  i  plate. 
(Phillips'  Collection  of  Voyages  and  Travels.)     8vo,  1819. 

Prout  {Samuel).  Rudiments  of  Landscape.  64  plates,  of  which  40  are  aqua- 
tint, 24  plain,  and  16  coloured.     Ob.  4to,  1813. 

A  Series  of  Easy  Lessons  in  Landscape  Drawing.    40  plates,  including 

16  aquatints,  of  which  8  are  coloured.     Ob.  4to,  1820. 

Pugh  {Edward).  Cambria  Depicta.  71  coloured  plates  by  T.  Cartwright, 
from  drawings  by  E.  P.     Ob.  4to,  1816. 

Pyne  { — ).  Groups  of  Figures  for  Decorating  Landscapes.  13  plates.  Ob. 
8vo,  1798. 

Pyne  {William  Henry).  Microcosm.  120  plates.  2  vols.  ob.  foL,  1803-6. 
Another  edition,  1806.  Another  edition,  with  32  plates,  parts  1-8,  1822. 
Issued  plain  and  coloured. 

Costume  of   Great   Britain.      60  coloured  plates.     Fol.,   1804.     2nd 

edition,  4to,  1808. 

Rudiments  of  Landscape  Drawing.    14  plates,  of  which  7  are  coloured. 

Ob.  4to,  181 2. 

The  Social  Club.     Parts  1-4.     12  coloured  plates  by  Smart  and  Hunt, 

from  drawings  by  W.  H.  P.     Roy.  4to,  1822. 

History  of  the  Royal  Residences.    100  coloured  plates.    Of  the  original 

drawings,  59  were  by  C.  Wild,  25  by  J.  StephanofF,  9  by  R.  Cattermole, 
6  by  W.  Westall,  i  by  G.  Samuel.  Of  the  plates,  36  were  engraved  by 
T.  Sutherland,  23  by  W.  J.  Bennett,  28  by  R.  Reeve,  11  by  D.  Havell, 

2  by  J.  Baily.     3  vols.  4to,  1819.     (Also  l.p.  copies.) 

and   W.  Combe.      Microcosm  of  London  :  or,  London  in  Miniature. 

104  coloured  plates  by  T.  Rowlandson  and  A.  Pugin,  aquatinted  by 
J.  Bluck,  J.  C.  Stadler,  T.  Sutherland,  J.  Hill,  and  R.  B.  Harraden. 

3  vols.    4to,  1808-10. 

Quiz  {Peter).  Fashionable  Bores,  or  Coolers  in  High  Life.  12  plates  by 
D.  T.  Egerton.     4to,  1824. 

Rabelais  {Robert).  Abeillard  and  Heloisa.  lo  plates  etched  by  T.  Land- 
seer,  aquatinted  by  G.  Lewis,  from  drawings  by  Thurston.     8vo,  1819. 

Raffles  {Sir  Thomas  Stamford).  The  History  of  Java.  Numerous  plates,  of 
which  12  are  aquatint  plain  and  coloured.     2  vols.  4to,  18 17. 

Ralfe  {James).  The  Naval  Chronology  of  Great  Britain  ( 1 803- 1 8 1 3).  60  plates : 
42  by  T.  Sutherland,  10  by  J.  Bailey,  2  by  W.  J.  Bennett,  3  by  F.  C. 
Lewis,  2  by  D.  Havell,  i  by  R.  Cooper,  chiefly  from  drawings  by 
T.  Whitcombe.     3  vols.  roy.  8vo,  1820. 

Ramsay  {Allan).  The  Gentle  Shepherd.  Frontispiece  and  12  coloured 
plates  after  David  Allan.     4to,  Glasgow,  1788. 

Rawstorne  {Lawrence).  Gamonia,  or  the  Art  of  Preserving  Game.  15 
coloured  plates  by  T.  Rawlins.    8vo,  1837. 


APPENDIX  A  349 

Raye  {Charles).  A  Picturesque  Tour  through  the  Isle  of  Wight.  24  coloured 
plates.     Ob.  4to,  1825. 

Real  Life  in  Ireland  ...  by  a  Real  Paddy.  19  coloured  plates  by  H. 
Aiken,  W.  Heath,  and  Marks.     Roy.  8vo,  1821.    3rd  edition,  1822. 

Reinhardt  ( — ).  A  Collection  of  Swiss  Costumes.  30  coloured  plates  by 
R.    Roy.  8vo,  1822. 

Repository  of  Arts,  etc.  Numerous  plates,  including  aquatints.  40  vols. 
8vo,  1809-28. 

Repton  {Humphrey).  Sketches  and  Hints  on  Landscape  Gardening.  14 
coloured  plates.     Ob.  fol.,  1794. 

Observations  on  the  Theory  and  Practice  of  Landscape  Gardening, 

40  plates,  of  which  11  are  coloured.     4to,  1803. 

Designs  for  the  Pavilion  at   Brighton.     Vignettes  and  10  coloured 

plates  by  J.  C.  Stadler,  after  H.  R.     Fol.,  1808. 

Odd  Whims  and  Miscellanies.      10  coloured  plates  by  J.  C.  Stadler, 

from  drawings  by  H.  R.    2  vols.  8vo,  1804. 

Repton  (//.  and  J.  A.).  Fragments  on  the  Theory  and  Practice  of  Land- 
scape Gardening.  Vignettes  and  53  plates,  of  which  51  are  aquatint 
plain  and  coloured.     4to,  1816. 

Richards  {William).  History  of  King's  Lynn.  Map  and  16  plates.  2  vols, 
roy.  8vo,  Lynn,  18 12. 

Richardson  {George).  A  New  Collection  of  Chimney  Pieces.  36  plates. 
Fol.,  1781. 

Treatise   on  the  Five   Orders  of  Architecture.      22  coloured  plates 

drawn  and  engraved  by  G.  R.  &  Son.     Fol.,  1787. 

New  Designs  in  Architecture.     44  plates  designed  and  engraved  by 

G.  R.     Fol.,  1792. 

Capitals  of  Columns  and  Friezes.     18  plates.     Ob.  4to,  1793. 

A  Series  of  Original  Designs  for  Country  Seats  or  Villas.     57  plates 

designed  and  engraved  by  G.  R.     Fol.,  1795. 

The  New  Vitruvius  Britannicus.    142  plates.    2  vols,  fol.,  1802-1808. 

&"  Son.     New  Designs  of  Vases  and  Tripods.     25  plates  designed  and 

engraved  by  G.  R.  &  Son.     4to,  1793. 

A  Collection  of  Ornaments  in  the  Antique  Style.     37  plates  designed 

and  engraved  by  G.  R.  &  Son.     4to,  18 16. 

Richardson  {Thomas  Miles).  Picturesque  Views  of  the  Architectural  Anti- 
quities of  Northumberland.  10  plates  drawn  and  etched  by  T.  M.  R., 
including  4  engraved  by  D.  Havell  and  coloured  by  B.  Hunter,  and 
6  engraved  by  T.  Sutherland,  2  of  which  are  coloured  by  B.  Hunter. 
Fol.,  London  and  Newcastle,  1819-20. 

Roberts  {Peter).  The  Cambrian  Popular  Antiquities,  etc.  9  coloured  plates 
by  Havell.     8vo,  181 5. 

Robertson  {Archibald).  A  Topographical  Survey  of  the  Great  Road  from 
London  to  Bath  and  Bristol.    2  parts.    Maps  and  65  plates.    8vo,  1792. 

Robertson  {David).  A  Tour  through  the  Isle  of  Man,  to  which  is  subjoined 
a  Review  of  the  Manks  History.  8  plates  signed  "  G.  I.  Parkyns,  del 
ei  ex."    8vo,  1794. 


350  HISTORY  OF  AQUATINT 

Robertson  ( William).  A  Collection  of  Various  Forms  of  Stoves,  etc.  24 
plates.     4to,  1798. 

Designs  in  Architecture.     Title  and  24  coloured  plates.     Ob.  4to,  1800. 

Ornamental  Gardening.     24  plates.     Ob.  fol.,  1800. 

A  Series  of  Views  of  Elgin  Cathedral,  with  a  Descriptive  and  Historical 

Account  of  the  Cathedral.      6   plates  from   drawings  by   W.   Clark. 
Fol.,  1826. 

Robson  {G.  Fennell).  Scenery  of  the  Grampian  Mountains.  41  coloured 
aquatints  by  H.  Morton  from  drawings  by  G.  F.  R.     Roy.  folio,  1819. 

Roche  {Hamilton).  Sketches  in  Flanders  and  Holland.  36  plates  containing 
49  sketches  in  outline  by  the  author,  aquatinted  by  J.  Hill,  J.  C.  Stadler 
and  D.  Havell,  also  portrait  in  stipple.     4to,  n.d.,  n.p.  (1816). 

Rogers  {B.).  Views  in  Westmoreland  and  Cumberland.  6  plates  by 
S.  Aiken  from  drawings  by  B.  R.     Ob.  fol.,  Stafford,  1796. 

Rosenberg  (M.).  Picturesque  Views  of  Public  Edifices  in  Paris.  20  coloured 
plates  by  Segard  and  F.  M.  Testard,  from  drawings  by  M.  R.    4to,  1814. 

Ross  {Capt.  John).  A  Voyage  of  Discovery  ...  for  the  Purpose  of  Explor- 
ing Baffin's  Bay.  Maps,  charts,  and  25  plates,  of  which  21  are  aquatint, 
6  plain,  and  15  coloured  by  R.  Havell  &  Son,  chiefly  from  drawings  by 
Captain  J.  R.    4to,  1819. 

RoTvlandson  {Thomas).  Excursion  to  Brighthelmstone.  8  coloured  plates. 
Ob.  folio,  1790.     See  also  Wigstead  {Henry). 

Imitations  of  Modern  Drawings.     Fol.,  1784-8. 

Different    Sensations.      4  coloured   plates,  all   probably  engraved  by 

S.    Aiken,  after  drawings  by  T.  R.,  though  one  only   is  signed.     Ob. 
fol.,  1790. 

The  Comforts  of  Bath.     12  coloured  plates    by  T,  R.,   designed   to 

illustrate  Anstey's  Guide.    Ob.  4to,  1798. 

The  Loyal  Volunteers  of  London  and  Environs.     87  coloured  plates 

byT.  R.     Fol.,  1799. 

Sketches  from  Nature.     12  views  etched  by  T.  R.  and  aquatinted  by 

Stadler.     1809.     Later  edition,  1822,  with  18  plates. 

MiHtary   Adventures  of  Johnny   Newcome.      15  coloured   plates  by 

T.  R.     8vo,  18 1 5. 

The  Grand  Master  ;  or,  Adventures  of  Qui  Hi  in  Hindostan.     Title. 

frontispiece,   and   26   plates    by   T.   R.,   of    which    25    are    coloured, 
Roy.  8vo,  1816. 

A  Journal    of  Sentimental    Travels    in    the    Southern    Provinces    of 

France.     18  coloured  plates  by  T.  R.     Roy.  8vo,  1821. 

Sketches  from    Nature.      18   coloured   plates   drawn   and  etched  by 

T.  R.,  aquatinted  by  Stadler.     4to,  1822. 

Etchings  from  Modern  Masters.     36  plates  byT.  R.,  of  which  10  are 

aquatint,  from  drawings  by  Gainsborough  and  others.     Fol.,  N.D.,  N.P. 

and  G.  M.  Woodward.     Horse  Accomplishments.    12  coloured  plates. 

Ob.  4to,  1799. 

See  also  Appendix  E. 

Russell  (G.).  Tour  through  Sicily  in  the  Year  1815.  10  coloured  plates  by 
J.  Clark.     8vo,  1819. 


APPENDIX  A  351 

Rutter  {John).     Delineations  of  Fonthill  and  its  Abbey.  28  plates,  of  which 

3  are  coloured  aquatint.    Title  by  R.  Havell  &  Son.  Roy.  410,  Shaftes- 
bury, 1823. 


St  Clair  {Lieut.-Col.  Thomas  Staunton).  A  Series  of  Views  of  the  Principal 
Occurrences  of  the  Campaigns  in  Spain  and  Portugal.  12  coloured 
plates  engraved  by  C.  Turner,  from  drawings  by  Lieut.-Col.  T.  S.  St  C. 
Folio,  181 1. 

A  Soldier's  Recollections  of  the  West  Indies  and  America.     1 1  plates. 

2  vols.  8vo,  1834. 

St  Sauveur  {Andre  Grasset  de,  jun.).  Travels  through  the  Balearic  and 
Pithiusian  Islands.  In  vol.  8  of  a  collection  of  modern  and  contemporary 
Voyages,  which  contains  7  aquatints,  6  by  Sir  J.  Carr  and  i  by  J.  C. 
Stadler.     8vo,  1808. 

Salami  {Abraham).  Narrative  of  the  Expedition  to  Algiers,  under  the  com- 
mand of  Admiral  Lord  Exmouth.  Portrait  and  plates,  of  which  i  is 
aquatint.     8vo,  18 19. 

Salt  {Henry).  Views  in  St  Helena,  the  Cape,  India,  etc.  24  coloured  plates 
by  R.  Havell,  D.  Havell,  J.  Bluck  and  J.  Hill,  from  drawings  by  H.  S. 
Fol.,  1809.     (Text  4to.)    Another  edition,  1822. 

Sams  {W).     A  Tour  through  Paris.     21  coloured  plates.     Sm.  fol.,  1822. 

Sandby  {Paul).  Twelve  Views  in  Aquatinta  from  Drawings  taken  on  the 
Spot  in  South  Wales.     12  plates.     4to,  1775. 

Twelve  Views  in  North  Wales.     12  plates.     4to,  1775. 

Satirist  (The),  or  Monthly  Meteor.  Many  illustrations,  including  some 
in  aquatint.     10  vols.  8vo,  1807-12, 

Sauvan  {M.).  Picturesque  Tour  of  the  Seine.  Map,  vignette,  title,  and  24 
coloured  plates,  by  T.  Sutherland  and  D.  Havell,  from  drawings  by 
A.  Pugin  and  J.  Gendall.    4to,  1821. 

Shoberl  {Frederic).  Picturesque  Tour  from  Geneva  to  Milan  by  Way  of 
the  Simplon.  Map  and  36  coloured  plates  from  drawings  by  J.  and  J. 
Lory.     Imp.  8vo,  1820. 

Illustrations  of  Japan.     Translated  from  the  French  of  M.  Titsingh. 

13  coloured  plates,  some  of  which  are  aquatint,      i   plate  is  signed 
J,  C.  Stadler.     4to,  1822. 

Scott  {John).  The  Sportsman's  Repository.  40  plates  after  Marshall, 
Stubbs,  and  others.     4to,  1820. 

Seeley  { — ).  Wonders  of  Elora.  Two  or  three  uncoloured  aquatints  among 
the  plates.     1824. 

Select  Collection  of  Views  and  Ruins  in  Rome  and  the  Vicinity.  31 
coloured  plates.     Fol.,  N.D. 

Selection  (A)  of  Facsimiles  of  Water-Colour  Drawings  from  the  Works  of 
the  Most  Distinguished  British  Artists.  12  plates  after  R.  Hills, 
S.  Prout,  F.  Nicholson,  J.  Smith,  and  W.  Collins.     Fol.,  1825. 

Semple  {Miss).  The  Costume  of  the  Netherlands.  (Text  in  French  and 
English.)  Vignette  and  30  coloured  plates  from  drawings  by  Miss  S. 
Fol.,  1817. 


352  HISTORY  OF  AQUATINT 

Serres  {Dotnenigue  and  John).  Liber  Nauticus  and  Instructor  in  the  Art 
of  Marine  Drawing.  2  parts.  41  plates,  of  which  29  are  aquatint,  by 
J.  Clarke,  J.  Hamble,  J.  C.  Stadler,  and  R.  B.  Harraden,  after  D.  and 
J.  S.     Roy.  fol.,  1805  and  1806. 

Serres  {John  Thomas).  The  Little  Sea  Torch.  Maps  and  20  coloured 
plates.     Sm.  fol.,  1801. 

Views  on  the  Coasts  of  England,  France,  Spain,  Portugal,  Italy,  etc. 

20  coloured  plates.     Fol.,  1833. 

Shepheard  {George  Wallwyn).  Vignette  Designs.  16  coloured  plates  by 
G.  M.  Brighty  after  G.  W.  S.     Ob.  fol.,  18 14. 

Shew  {Thomas).  A  Panoramic  View  of  the  City  of  Rome,  engraved  by  T. 
Sutherland.     1825. 

Sickelmore  {C.  L.  R.).  Descriptive  View  of  Brighton.  9  plates  by  G. 
Hunt,  after  C.  Fox,  R.  Jones,  etc.     Ob.  fol.,  Brighton,  circa  1830. 

Simond  {Louis).  Journal  of  a  Tour  and  Residence  in  Great  Britain  during 
the  Years  18 10  and  181 1.  21  plates  by  J.  Clark,  from  drawings  by  L.  S. 
2  vols.  8vo,  Edinburgh,  181 5.  Issued  both  plain  and  coloured.  The 
edition  of  1817  has  5  etchings  instead  of  the  aquatints. 

Sketches  of  Russia.     15  coloured  plates.     8vo,  1814. 

Sketches  of  the  New  Costume  of  the  Turkish  Army.     5  coloured  plates. 

Sm.  fol.,  1835. 
Slade  {Adolphus).     Records  of  Travels  in  Turkey,  Greece,  etc.,  and  of  a 

Cruise  in  the  Black  Sea  with  the  Capitan  Pasha,  1829-31.     Coloured 

frontispiece  by  J.  Clarke.    2  vols.  8vo,  1833. 

Smith  {Col.  Hamilton).  Selections  of  the  Antient  Costume  of  Great 
Britain  and  Ireland  from  the  7th  to  the  i6th  Century.  Title  and  60 
coloured  plates  from  drawings  by  Col.  H.  S.,  etched  by  J.  A.  Atkinson, 
aquatinted  by  R.  and  D.  Havell,  J.  Hill,  and  J.  Merigot.  Large  4to, 
1 8 14.     See  also  Meyrick. 

Costume  of  the  Army  of  the  British  Empire  with  Descriptions.     61 

coloured  plates  by  J.  C.  Stadler  from  drawings  by  Col.   H.   S.      4to, 
1815. 

Smith  {John).  Views  of  the  Lakes  of  Cumberland.  20  plates  by 
J.  Merigot,  1795. 

Smith  {J.  E.).  Tour  to  Hafod,  the  Seat  of  T.  Johnes,  Esq.  1 5  coloured 
plates  by  J.  C.  Stadler  after  J.  E.  S.     Imp.  fol.,  18 10. 

Smith  {John  Thomas).  Antiquities  of  London  and  its  Environs.  100 
plates,  of  which  12  have  mixed  line  and  aquatint.     4to,  1791. 

Antiquities  of  Westminster.    246  plates,  of  which  20  are  aquatint,  2  by 

F.  C.  Lewis,  13  by  W.  M.  Fellowes,  i  by  J.  Hall,  and  4  unsigned.     4to, 
1807.     Supplement,  1809,  62  plates. 

Smith  {Capt.  Robert).  Views  in  Prince  of  Wales's  Island  (Malaya). 
II  coloured  plates  by  W.  Daniell.     Elephant  fol.,  1821. 

Smollett  {Tobias).  Roderick  Random.  6  coloured  plates  ;  i  and  2  by 
T.  Rowlandson  after  G.  M.  Woodward  ;  3  and  4  by  J.  C.  Stadler  after 
C.  Muys  ;  5  and  6  by  T.  Rowlandson  after  Singleton.     Ob.  fol.,  1800. 

Smyth  {Capt.  William  Henry ^  R.N.).  Memoir  of  the  Resources,  In- 
habitants, and  Hydrography  of  Sicily  and  its  Islands.  Map  and  14 
plates  after  W.  Daniell.    4to,  1824. 


APPENDIX  A  353 

Snodgrass  {Major).  Narrative  of  the  Burmese  War,  1824-26.  22  coloured 
plates  by  H.  Pyall  and  T.  Fielding,  after  drawings  by  J.  Moore.  Ob. 
4to,  1827. 

Soane  {Sir  John).     Sketches  in  Architecture.     54  plates.     Fol.,  1793. 

Sotheby  (William).  Tour  through  Parts  of  Wales.  12  plates  by  S.  Aiken 
from  drawings  by  J.  Smith.    4to,  1794. 

Spilsbury  (  Francis  B.).  Picturesque  Scenery  in  the  Holy  Land  and  Syria 
during  the  Campaigns  (under  Sir  Sidney  Smith)  in  1799  and  1800.  19 
coloured  plates  drawn  by  D.  Orme  from  sketches  by  J.  B.  S.,  engraved 
by  J.  Jeakes,  J.  C.  Stadler,  H.  Merke,  G.  Vivares,  and  others  ;  also  2  soft 
ground  etchings,  and  a  mezzotint  portrait  of  Sir  Sidney  Smith.  Fol., 
1803.     2nd  edition,  1819. 

Account  of  a  Voyage  to  the  Western   Coast  of  Africa.      9  plates. 

8vo,  1806. 

Sterne  {Lawrence).  Sentimental  Journey.  10  coloured  plates  by  P.  Roberts 
and  J.  C.  Stadler  from  drawings  by  Adam  Buck.    4to,  1801. 

Tristram  Shandy  and  a  Sentimental  Journey.      6  coloured  plates  by 

Piatt  and  F.  C.  Lewis  from  drawings  by  J.  Bluck.     8vo,  1802. 

Works  with  Life.     12  plates  by  J.  H.  Clark.     The  plates  also  issued 

coloured  in  portfolio.     4  vols.  i2mo,  1823. 

Stoddart  {John).  Remarks  on  Local  Scenery  and  Manners  in  Scotland 
during  the  Years  1799  and  1800.  Map,  2  vignettes,  and  32  plates  by 
Merigot.     2  vols.  8vo,  1801. 

Stothard  {Mrs  Charles).  Letters  written  during  a  Tour  through  Normandy, 
Brittany,  etc.,  in  1 818.  23  plates  plain  and  coloured  by  Havell  and 
Charles  Stothard,  from  drawings  by  C.  S.     4to,  1820. 

Stranger  in  Reading  (The).     Plans  and  plates.     Reading,  1810. 

Sullivan  {Dennis).  Picturesque  Tour  of  Ireland.  24  coloured  plates.  Sm. 
ob.  fol.,  1824. 

SvifUne  {Paul).  Sketches  of  Russia.  2  coloured  stipple  portraits  and  12 
coloured  aquatint  plates  by  J.  Bluck,  after  drawings  by  P.  S.    8vo,  1831. 

Syntax  {Dr).     See  Combe  ( W.)  and  Williams  {E.). 

Temple  {Lieut.  R.).  Eight  Views  of  the  Mauritius  ;  comprising  the  Positions 
of  the  British  Army  commanded  by  General  Abercrombie.  8  plates 
from  drawings  by  Lieut.  R.  T.     Ob.  fol.,  1810. 

Operations  in  the  Persian  Gulf.     7  coloured  plates  by  J.  Clark  from 

drawings  by  Lieut.  R.  T.     Ob.  fol.,  181 3. 

Testolini  {Gaetano).  Rudiments  of  Drawing,  Shadowing,  and  Colouring 
Flowers  in  Water  Colours.  29  plates,  of  which  28  are  aquatint,  14  plain, 
and  14  coloured.     Ob.  4to,  181 8. 

Theatric  Tourist.     24  coloured  plates  by  R.  Havell.     4to,  1805. 

Thompson  {H.  H.).  Sicily  and  its  Inhabitants.  Large  folding  frontispiece 
and  2  plates.    4to,  181 3  (?). 

Thomson  {James).  Retreats  ;  Series  of  Designs  for  Cottages,  Villas,  and 
Ornamental  Buildings.     Plans  and  31  coloured  plates.     4to,  1827. 

Thorn  {Major  William).  Memoir  of  the  Conquest  of  Java.  Maps  and 
35  plates  by  J.  Jeakes.     4to,  1815. 


354  HISTORY  OF  AQUATINT 

Thdmhill  {Richard  Badham).  The  Shooting  Directory.  Portrait  and 
8  coloured  plates  by  T.  Medland  after  Bell,  J.  and  L.  West,  and  others. 
4to,  1804. 

Thornton  {Colonel).  A  Sporting  Tour  through  France,  etc.  80  plates, 
mostly  engraved  by  J.  Merigot  from  drawings  by  J.  Bryant.  2  vols. 
4to,  1806.     Issued  plain  and  coloured. 

Thornton  {Dr  R.  /.).  Temple  of  Flora,  or  Garden  of  Nature,  being  pic- 
turesque Botanical  Plates  of  the  New  Illustration  of  the  Sexual  System 
of  Linnaeus.  3  engravings  and  30  coloured  plates  by  W.  Ward,  R.  Earlom, 
R.  Dunkarton,  J.  Caldwall  and  others.  FoL,  1807.  Most  of  the  plates 
are  in  a  mixed  process. 

Temple   of   Flora,  or    Garden    of  the   Botanist,  Poet,   Painter,   and 

Philosopher.      29  coloured  plates,  5  by  J.  Roffe,  5  by  J.  C.  Stadler, 

5  by  J.  P.  Quilley,  5  by  Maddox,  and  others.     4to,  1812. 

Timms  ( — ).  Views  of  the  town  of  Reading,  Gentlemen's  Seats,  etc. 
12  coloured  plates  by  —  T.     Reading,  ob.  foL,  1823. 

Tomkins  {Charles).  Views  of  Reading  Abbey.  10  plates,  of  which  8  are 
aquatint,  drawn  and  engraved  by  C.  T.     4to,  1791. 

A  Tour  to  the  Isle  of  Wight.      80  plates,  drawn  and   engraved  by 

C.  T.     2  vols.  8vo,  1796. 

See  also  The  British  Volunteer. 

Tooke  (  Williant).  Picturesque  Scenery  of  Norway.  80  coloured  plates  by 
J.  W.  Edy.  FoL,  1820.  Known  as  Boydell's  Picturesque  Scenery  of 
Norway. 

Tour  of  Paris.     Engraved  frontispiece  and  20  plates.     Ob.  foL,  1824. 

Tour  (A)  through  the  South  of  England,  Wales,  and  part  of  Ireland.  12 
coloured  plates.     4to,  1793. 

Tournament  (The),  or  Days  of  Chivalry.     24  coloured  plates.     Roy.  8vo, 

1823. 
Travels  of  Cosmo  the  Third,  Grand  Duke  of  Tuscany,  through  England 

during  the  reign  of  King  Charles  II.,  translated  from  the  Italian  MS.  in 

the  Laurentian  Library  at  Florence.      Engraved  frontispiece  and  40 

plates.     4to,  1821. 

Tully  {Richard).     Narrative  of  a  Ten  Years'  Residence  at  Tripoli  in  Africa. 

6  coloured  plates,  of  which  4  are  by  R.  Havell  &  Son.     410,  1816. 

Turner  {Charles).  Delights  of  Fishing.  6  coloured  plates.  Engraved  by 
C.  T.  after  drawings  by  Sir  Robt.  Frankland.     Folio,  1814. 

Hunting  Subjects.    5  coloured  plates,  engraved  by  C.  T.  after  drawings 

by  Sir  Robt.  Frankland.     Folio,  18 14. 

Scottish  Views.    4  coloured  plates,  engraved  by  C.  T.  after  drawings 

by  W.  Brown.     8vo,  Glasgow,  1816. 

Waterloo.     7  coloured  plates,  engraved  by  C.  T.  after  drawings  by 

Captain  George  Jones.     Folio,  18 16. 

4    plates    engraved   by    C.  T.    after   drawings    by    Richard    Jones. 

Folio,  1 82 1. 

Coursing.    4  plates  after  Richard  Jones.     Folio,  1821. 

The  Poacher's  Progress.     8  coloured  plates,  engraved  by  C.  T.  after 

drawings  by  C.  Blake.     Folio,  1826. 


APPENDIX  A  355 

Turner  {Dawson).  Fuci,  or  coloured  figures  and  descriptions  of  the  plants, 
referred  by  botanists  to  the  genus  fucus.  258  coloured  plates.  4  vols. 
4to,  1 8 19. 

Varley  {John).  Treatise  on  the  Principles  of  Landscape  Design,  etc.  8 
plates  (16  views)  by  F.  C.  Lewis,  G.  Lewis,  and  J.  Gleadah,  from  draw- 
ings by  J.  V.     Sm.  fol.,  18 16. 

Precepts  for  Designs    in   Landscape.      11    plates    by   F.   C.    Lewis, 

G.  Lewis,  J.  Gleadah,  and  G.  Hawkins  from  drawings  by  J.  V.     Fol., 
1816-21. 

Vidal  (E.  £.).  Picturesque  Illustrations  of  Buenos  Ayres  and  Monte  Video. 
Map  and  24  coloured  plates  by  T.  Sutherland,  D.  Havell,  G.  Maile, 
and  J.  Bluck.     Imp.  4to,  1820. 

Views  in  Switzerland,  etc.,  20  plates,  of  which  17  are  by  S.  Aiken,  2  by 
J.  Edy,  and  i  by  J.  Merigot.     Ob.  4to,  1794. 

Views  in  Westmoreland,  Cumberland,  etc.  16  plates,  of  which  15  are  by 
S.  Aiken  and  i  by  C.  Apostool,  from  drawings  by  J.  Ernes  and  J.  Smith. 
Ob.  4to,  1794. 

Views  of  Country  Seats  of  the  Royal  Family,  Nobility,  and  Gentry  of  Eng- 
land.    50  coloured  plates  after  W.  Westall  and  others.     8vo,  1828. 

Walker  {George).  The  Costume  of  Yorkshire.  40  coloured  plates  by 
R.  and  D.  Havell  from  drawings  by  G.  W.     4to,  1814. 

Wallis  {John  Augustine).  A  Voyage  in  the  West  Indies.  6  plates. 
(Phillips'  Collection  of  Voyages  and  Travels.)     8vo,  1820. 

Walsh  {Thomas).  Journal  of  the  late  Campaign  in  Egypt.  49  plates,  of 
which  6  are  coloured  aquatint  by  Neele.     4to,  1803. 

Walton  (/).     See  Fielding  {T.  H.  A .). 

Ward  {Henry  George).  Mexico  in  1827.  3  coloured  lithographs  and  18 
coloured  plates  by  T.  Clark  after  drawings  by  Mrs  Ward.  2  vols.  8vo, 
1828. 

Warner  {Rev.  Richard).  A  Tour  through  Cornwall  in  the  Autumn  of  1808. 
Frontispiece  by  S.  Aiken,  from  a  drawing  by  J.  West.     8vo,  Bath,  1809. 

Wathen  {James).  Journal  of  a  Voyage  to  Madras  and  China.  24  coloured 
plates  by  J.  Clark  from  drawings  by  J.  W.     4to,  1814. 

A  Series  of  Views  of  the  Island  of  St  Helena.     8  plates  by  J.  Clark 

from  drawings  by  J.  W.     4to,  1821. 

Webber  {James).  Views  in  the  South  Seas.  16  coloured  plates  by  Boydell 
from  drawings  by  J.  W.     Large  fol.,  1808. 

Weiber  {S.).  Panoramic  View  of  the  Alps.  Coloured  aquatint  in  4  sheets, 
outline,  key-plate,  and  description.     (9^  x  89)  1809. 

Welsh  {Col.  James).  Military  Reminiscences.  Vignette  and  90  plates  from 
drawings  by  Col.  J.  W.,  of  which  34  are  aquatint  by  R.  Havell, 
R.  G.  Reeve,  F.  C.  Lewis,  and  others.     2  vols.  8vo,  1830. 

West  {Thomas).  A  Guide  to  the  Lakes.  Map  and  coloured  frontispiece  by 
Havell  after  I.  Feary.     8vo,  Kendal,  1821. 

Westall  {Richard).  Victories  of  the  Duke  of  Wellington.  1 1  coloured  plate 
by  T.  H.  Fielding  and  i  by  C.  Heath  from  drawings  by  R.  W.    4to,  1819. 


356  HISTORY  OF  AQUATINT 

Westall {William).  Views  of  the  Caves  near  Ingleton,  Gordale  Scar,  and 
Malham  Cove  in  Yorkshire.  12  plates  drawn  and  engraved  by  W.  W. 
FoL,  1818. 

A  Series  of  Views  of  the  Lakes  of  Cumberland  and  Westmoreland. 

3  parts.     12  plates  drawn  and  engraved  by  W.  W.     4to,  1820. 

Views   of  Country   Seats.      146  coloured   plates   after  drawings   by 

W.  W.  and  J.  Gendall.  2  vols.,  1830.  Later  and  augmented  issue  of 
Views  of  Country  Seats,  g.v. 

Views  of  the  Lake  and  of  the  Vale  of  Keswick.     12  coloured  plates 

drawn  and  engraved  by  W.  W.    4to,  1820. 

Views  of  Fountains  Abbey,  etc.      7  plates  drawn  and  engraved  by 

W.  W.    4to,  1846. 

Views  of  Raglan  Castle.      6  plates  drawn  and  engraved  by  W.  W. 

FoL,  N.D. 

and   Owen  {S.).      Picturesque  Tour  of  the  River  Thames.      Map, 

vignettes,  and  24  coloured  plates  after  drawings  by  W.  W.  and  S.  O. 
15  by  R.  G.  Reeve,  2  by  J.  Bailey,  i  by  J.  Fielding,  and  6  by  C.  Bentley. 
FoL,  1828.     See  also  Bentley  (C). 

Westmacott  {Charles  Malloy).     See  Blackmantle  {Bernard). 

Whitaker  {Thomas  Dunham).  The  History  and  Antiquities  of  the  Deanery 
of  Craven  in  the  County  of  York.  18  plates  by  S.  Aiken.  FoL,  1805. 
Another  edition,  1812. 

A  Series  of  Views  of  the  Abbeys  and  Castles  of  Yorkshire.     10  plates, 

of  which  7  are  aquatint  by  W.  Westall  and  F.  Mackenzie.     FoL,  1820, 

Wigstead  {Henry).  Remarks  on  a  Tour  to  North  and  South  Wales.  22  plates 
by  Rowlandson,  Pugh,  and  others,  aquatinted  by  Hill.     8vo,  1800. 

Journal  of  a  Party  of  Pleasure  to  Paris.     13  plates  by  J.  Hill  after 

drawings  by  H.  W.     8vo,  1802. 

and  Rowlandson  (7".).     An  Excursion  to  Brighthelmstone.     8  plates 

drawn  by  T.  Rowlandson,  aquatinted  by  S.  Aiken.     Ob.  foL,  1790. 

Wild  {Charles).  Twelve  Perspective  Views  of  the  Metropolitan  Church  of 
Canterbury.  Plans  and  12  coloured  plates  drawn  and  engraved  by 
C.  W.     Folio,  1807.     Issued  plain  and  coloured. 

— —  An  Illustration  of  the  Architecture  of  the  Cathedral  Church  of 
Chester.  Plan  and  5  plates  drawn  and  etched  by  C.  W.,  aquatinted 
by  M.  Dubourg.     Folio,  18 13. 

An    Illustration  of   the  Architecture  of  the    Cathedral   Church    of 

Lichfield.  Plan  and  9  plates  drawn  and  etched  by  C.  W.,  aquatinted 
by  M.  Dubourg.     Folio,  181 3. 

Select  Examples  of  the  Ecclesiastical  Architecture  of  the  Middle  Ages, 

chiefly  in  France.     12  coloured  plates.     Folio,  1826. 

Select  Examples  of  the  Ecclesiastical  Architecture  of  the  Middle  Ages 

in  England.     12  coloured  plates.     Folio,  1828. 

Wilkins  {William).  Antiquities  of  Magna  Grascia.  Plans,  vignettes,  and 
numerous  plates,  of  which  21  are  aquatint,  some  signed  T.  Medland 
and  J.  Jeakes.     Imp.  foL,  Cambridge,  1807. 


APPENDIX  A  357 

Williams  iC).  Views  in  the  Mediterranean.  20  coloured  plates.  Fol., 
1800. 

Williams  {David).  The  History  of  Monmouthshire.  36  plates  by  the  Rev. 
J.  Gardnor"  and  J.  Hill,  from  drawings  by  the  Rev.  J.  Gardnor.  4to, 
1796. 

Williams  {£.).     Dr  Syntax  in  Paris.     17  coloured  plates.     8vo,  1820. 

The  Tour  of  Dr  Syntax  through  London.     20  coloured  plates.     8vo, 

1820. 

Williamson  {Capt.  Thomas).  Oriental  Field  Sports,  etc.  40  coloured  plates 
by  S.  Howitt,  of  which  37  are  aquatint.     Ob.  fol,  1807. 

The  Costumes  and  Customs  of  Modern  India.     20  coloured  plates  by 

J.  H.  Clark  and  M.  Dubourg  after  drawings  by  C.  Doyley.     Same  as 
following  but  without  Blagdon's  History.     Fol.,  1813. 

The  European  in  India  and  a  brief  History  of  Ancient  and  Modern 

India  by  F.  W.  Blagdon.      20  coloured  plates  by  J.   H.  Clark  and 
M.  Dubourg  after  drawings  by  C.  D'Oyly.     Large  4to,  181 3. 

■  An  Historical  Account  of  the  Rise  and  Progress  of  the  Bengal  Native 
Infantry  from  its  Formation  in  1757  to  1796.  4  coloured  plates  of 
costume  in  stipple  and  aquatint.     8vo,  18 17. 

Foreigfn  Field  Sports,  etc.,  and  Supplement  of  Field  Sports  of  New 

South  Wales.    1 10  coloured  plates  by  S.  Howitt,  J.  A.  Atkinson,  J.  Clark, 
F.  J.  Manskirsch,  and  others.     4to,  1813-14.     2nd  edition,  1819. 

Willyams  {Rev.  Cooper).  A  Voyage  up  the  Mediterranean  in  H.M.S. 
Swiftsure.     44  plates,  of  which  42  are  by  J.  C.  Stadler.     Fol.,  1802. 

A  Selection  of  Views  in  Egypt,  Palestine,  etc.      32  coloured  plates 

by  J.  C.  Stadler.     Fol.,  1822. 

Wilson  {Harriette).  Paris  Lions  and  London  Tigers.  12  coloured  plates 
by  Findlay.     i2mo,  1825. 

Wilson  { W.  R.).  Travels  in  Norway,  Sweden,  Denmark,  Hanover,  Ger- 
many, Netherlands,  etc.     7  plates.     8vo,  1826. 

Wood  {John  George).  Views  of  the  Noblemen's  and  Gentlemen's  Seats  of 
Kent.    24  coloured  plates  by  W.  Green  after  J.  G.  W.     Large  fol.,  1800. 

Wood  {William).  Zoography.  61  plates  designed  and  engraved  by  W. 
Daniell.     3  vols.  8vo,  1807. 

Woodward  {George  M.).  An  Olio  of  Good  Breeding.  10  coloured  plates. 
4to,  1 79 1. 

Yosy  {A.).  Picturesque  Representations  of  the  Dress  and  Manners  of  the 
Swiss.     50  coloured  plates.     2  vols.  roy.  8vo,  181 5. 


APPENDIX  B 

BIOGRAPHICAL  NOTICES  OF  ENGRAVERS  WHOSE 
NAMES  APPEAR  ON  THE  PLATES 

Ackermann,  Rudolph  (1764-1834).  His  name  appears  on  two  plates  in 
Nelson's  Funeral  Procession.     See  Chapter  V. 

Aiken,  Henry  (fl.  1 8 16- 1 831),  engraver  ;  earliest  works  published  under  the 
pseudonym  of  "  Ben  Tallyho  "  ;  engraved  chiefly  humorous  and  sporting 
subjects  ;  left  two  or  three  sons  to  follow  in  his  footsteps  as  sporting 
artists,  one  of  whom  (Henry,  jun.)  has  often  been  confused  with  his 
father. 

Aiken,  Samuel  (^.  1780- 1798),  an  early  master  of  aquatint ;  produced  plates 
after  Morland,  R.  Wilkinson,  Rowlandson,  Wheatley,  and  others.  His 
original  work  is  comprised  in  A  New  Book  of  Ornaments,  Rogers' 
Views  in  Cumberland  and  Westmoreland,  and  Broughton's  Views  in 
North  Wales. 

Almucco,  Theodora,  aquatinted  plates  to  Hamilton's  Remarks  on  .  .  .  Turkey. 

Afiostool,  Cornelius  (1762- 1844),  amateur  painter  and  engraver;  born  at 
Amsterdam  ;  visited  England  as  a  young  man  ;  returned  to  Holland  in 
1796  ;  director  of  Museum  at  Amsterdam,  an  office  which  he  retained 
till  his  death  ;  engraved  several  single  plates,  as  well  as  illustrations 
in  aquatint  to  two  of  A.  de  Beaumont's  books. 

Atkinson,  John  Augustus  (b.  1775),  painter  and  engraver;  taken  to  St 
Petersburg  in  1784;  obtained  patronage  of  Empress  Catherine; 
painted  many  pictures,  and  prepared  plates  for  books  of  costume, 
military  subjects,  etc.  ;  exhibited  at  R.A.  between  1802  and  1829. 

Bailey, John  (1750-1819),  agriculturist  and  engraver;  successively  tutor, 
surveyor,  and  land  agent  to  Lord  Tankerville  ;  engraved  numerous 
plates  ;  devoted  much  study  to  questions  of  rural  economy. 

Baxter,  George  (1781-1858),  printer  and  publisher ;  invented  process  of  print- 
ing in  oil  colours,  as  described  in  chap,  ii.,  and  was  the  first  to  use  an 
inking  roller,  invented  under  his  superintendence  at  Lewes. 

Bennett,  William  James  ( 1 787- 1 844),  a  pupil  of  Westall,  one  of  the  early  school 
of  landscape  painters  and  aquatint  engravers  ;  at  the  age  of  eighteen 
enlisted  and  went  to  Egypt  and  thence  to  Malta  ;  afterwards  returned 
to  Mediterranean  under  Sir  James  Craig  ;  worked  in  Florence,  Naples, 
and  Rome  ;  went  to  America,  married,  and  settled  in  New  York,  where 
he  executed  his  principal  aquatints  ;  made  keeper  of  National  Academy 
in  1830. 

Bentley,  Charles,  engraver  and  etcher ;  alive  (according  to  Nagler)  in  1835. 
Aquatinted  plates  to  several  volumes,  including  his  Picturesque  Tour  of 
the  River  Thames. 

Bluck,  J.,  aquatinted  illustrations  to  fourteen  volumes,  including  drawing- 
books,  travels,  and  books  on  architecture. 

3S8 


APPENDIX  B  359 

Boydell^  Josiah  (1752-18 17),  nephew,  partner,  and  successor  of  John  Boydell  ; 
painter  and  engraver  ;  exhibited  at  R.A.,  1772-99  ;  Alderman  of  London 
and  Master  of  Stationers'  Company ;  aquatinted  plates  to  Webber's 
Views  in  the  South  Seas. 

Bridgens,  R.,  aquatinted  plates  to  two  books  of  costume. 

Brighty,  G.  i/.,  aquatinted  plates  to  Shepheard's  Vignette  Designs. 

Bruce,  aquatinted  plates  to  his  Select  Views  of  Brighton. 

Burke,  Thotnas  (1749-1815),  chiefly  known  by  his  work  in  mezzotint  and 
stipple ;  worked  on  two  of  the  plates  in  Thornton's  Temple  of  Flora 
(1807  and  1812). 

Caldwall,  fames  (1739- 1807  ?),  a  pupil  of  Sherwin,  produced  many  fine  por- 
traits in  mezzotint,  etc.,  and  aquatinted  eight  plates  to  Thornton's 
Temple  of  Flora  (1807). 

Canton,  C.  /.,  aquatinted  plates  to  Johnston's  Travels  through  the  Russian 
Empire. 

Carr,  5/y/<?^«  (1772- 1832),  barrister,  traveller,  engraver,  and  essayist ;  being 
sent  abroad  for  health,  published  accounts  of  his  Tours,  which  were 
mercilessly  parodied  ;  knighted  c.  1806. 

Cartwright,  71,  aquatinted  plates  to  Johnston's  Travels  through  the  Russian 
Empire  and  Pugh's  Cambria  Depicta. 

Cation,  Charles,  jun.  (i 756-1 819),  son  of  Charles  Catton  the  elder  ;  painter 
and  engraver ;  went  on  sketching  tours  through  Great  Britain ; 
emigrated  to  America  ;  aquatinted  five  plates  to  his  own  book,  Animals 
Drawn  from  Nature. 

Chamberlaine,  fohn  (1745-18 12),  antiquary,  succeeded  R.  Dalton  as  keeper 
of  the  royal  drawings  and  medals  in  1791  ;  published  two  important 
books  of  reproductions  from  the  Old  Masters,  the  text  to  his  Holbein 
being  written  by  Edmund  Lodge. 

Clark,  E.,  aquatinted  plates  to  Nightingale's  Oceanic  Sketches. 

Clark,  I.  or  f.,  aquatinted  plates  to  some  thirty  volumes,  chiefly  of  travels. 

Clark,  fohn  Heaviside  (1770?- 1863),  nicknamed  'Waterloo  Clark,'  from  the 
sketches  he  made  on  the  battlefield  ;  executed  aquatint  illustrations 
to  Gilpin's  Day,  National  Sports  of  Great  Britain,  and  other  important 
books. 

Clarke,  f,  aquatinted  illustrations  to  Gil  Bias,  Sterne's  Works,  and  other 
books. 

Cleghom,  f.,  aquatinted  plates  to  Nash's  Royal  Pavilion  at  Brighton. 

Cockburn,  Maj.-Gen.  fames  Pattison  (1778- 1847),  an  artillery  officer  who 
illustrated  his  own  works  of  travel  in  aquatint  and  mezzotint. 

Cockburn,  R.,  aquatinted  the  plates  to  the  Dulwich  Gallery. 

Cooper,  Richard,  jun.  (i740?-i8i4?),  went  to  Paris  and  worked  under 
Le  Bas  ;  exhibited  at  Incorporated  Society  of  Artists,  1761-64  ;  went  to 
Italy  and  produced  important  series  of  tinted  drawings  of  Rome  and 
the  vicinity  which  gained  him  the  title  of  the  '  English  Poussin,'  and 
were  engraved  in  aquatint  and  published  1778-79,  some  of  the  drawings 
being  exhibited  at  R.A.  ;  published  other  important  works,  including 
two  drawings  of  Windsor  afterwards  engraved  and  aquatinted  by 
S.  Aiken  ;  contributed  two  plates  to  Thornton's  Temple  of  Flora  (1807) ; 
was  still  alive  in  1814,  in  which  year  he  engraved  plates  to  Tresham's 
Gallery. 


36o  HISTORY  OF  AQUATINT 

Craig,  William  Marshall  (fl.  1788- 1828),  said  to  have  been  a  nephew  of 
James  Thomson  ;  draughtsman  on  wood  and  fashionable  miniature 
painter  ;  exhibited  at  R.A.,  1788- 1827  ;  painter  in  water-colours  to  Queen 
Charlotte,  and  miniature  painter  to  Duke  and  Duchess  of  York  ;  pub- 
lished Essay  on  the  Study  of  Nature  in  Drawing  Landscape  and 
other  works  ;  lectured  on  drawing,  painting,  and  engraving  at  the  Royal 
Institution  ;  his  Discourses  published  in  1821  ;  was  still  alive  in  1828. 

Crowquill,  Alfred  (pseud,  of  Forrester,  Alfred  Henry)  (1804-1872),  artist, 
engraver,  and  humourist ;  exhibited  pen-and-ink  sketches  at  R.A. ; 
illustrated  many  books  ;  worked  for  Punch  and  for  his  brother  Charles 
Robert  Forrester,  whose  works  he  often  illustrated  ;  twenty-six  works 
written  and  illustrated  by  him  are  enumerated  in  the  Dictionary  of 
National  Biography,  and  thirty-four  more  to  which  he  supplied  the 
illustrations. 

Cruikshank,  George  (1792- 1878),  artist  and  caricaturist,  son  of  Isaac  Cruik- 
shank ;  executed  many  caricatures  and  book  illustrations ;  principal 
works  in  aquatint  are  the  illustrations  to  Mudford's  Campaigns  in  the 
Netherlands,  Combe's  and  Ireland's  Lives  of  Napoleon  ;  collaborated 
with  his  brother  in  plates  to  Pierce  Egan's  Life  in  London. 

Cruikshank,  Robert  Isaac  or  Isaac  Robert  (1789- 18 56),  eldest  son  of  Isaac 
Cruikshank  ;  began  life  as  a  midshipman  in  the  E.I.C.  service  ;  fell 
under  influence  of  his  younger  brother  George,  and  devoted  himself  to 
art,  at  first  chiefly  miniature  painting  ;  made  several  pictures  of  Kean 
and  a  surreptitious  sketch  of  Mrs  Garrick  in  her  ninetieth  year  ;  moved 
to  St  James's  Place,  and  began  to  produce  caricatures  and  humorous 
drawings  in  the  manner  of  his  brother  ;  at  least  seventeen  books  were 
illustrated  by  him  subsequent  to  1820,  the  most  famous  being  those  to 
Westmacott's  English  Spy. 

Daniell,  Samuel {177 S-iSi  i),  artist  and  traveller  ;  sent  as  secretary  to  mission 
to  Bechuanaland  ;  exhibited  pictures  of  Oriental  scenery  at  R.A.  and 
Society  of  Artists  ;  wrote  books  of  travel ;  died  in  Ceylon. 

Daniell,  Thomas  (1749- 1840),  landscape  painter  ;  went  to  India  with  his 
nephew,  William  Daniell,  1784  ;  R.A.,  1799  ;  published  several  important 
works,  especially  Oriental  Scenery,  often  in  collaboration  with  his 
nephew. 

Daniell,  William  (1769- 1837),  also  a  painter  and  engraver  ;  exhibited  views 
of  scenery,  English  and  Oriental,  1795-1837  ;  collaborated  with  his 
uncle  and  produced  many  important  books,  notably  A  Voyage  round 
Great  Britain,  by  R.  Ayton. 

Dawe,  Henry  Edward  (1790- 1848),  son  of  Philip  Dawe  the  mezzotint 
engraver,  and  younger  brother  of  George  Dawe,  the  R.A.  satirised 
by  Charles  Lamb  ;  began  life  as  a  mezzotinter ;  exhibited  portraits  at 
the  Society  of  British  Artists,  sending  seventy-two  works  to  the 
annual  exhibitions  between  1824  and  1845,  ^s  well  as  at  the  R.A.  and 
British  Institute  ;  employed  by  Turner  on  the  Liber  Studiorum,  for 
which  he  engraved  four  plates. 

Dodd,  Robert  {17 ^Z-i^iGl),  ch.\&?[^y  known  as  marine  painter  and  engraver  ; 
had  attained  some  celebrity  by  177 1,  though  his  first  appearance  as  an 
exhibitor  at  Society  of  Artists  was  in  1780  ;  exhibited  R.A.,  1782-1809  ; 
painted  many  famous  and  important  naval  pictures,  many  of  them  being 
engraved  in  line  or  aquatint  by  himself  and  others ;  e.xecuted  a  few 
aquatint  book  illustrations. 


APPENDIX  B  361 

Douglas,  Rev.  James,  aquatinted  some  of  the  plates  to  his  own  Nenta 
Britannica. 

Dubourg,  M.  (fl.  1786- 1820),  "an  English  draughtsman,  who  in  1820  pub- 
lished Views  of  the  Remains  of  Ancient  Buildings  in  Rome  and  its 
Vicinity,  with  coloured  engravings.  A  picture  of  the  Chain  Pier  at 
Brighton  was  issued  in  1824  by  an  artist  of  this  name,  whether  the 
same  person  or  not  we  do  not  know  "  (Nagler).  M.  Dubourg  exhibited 
three  miniatures  at  the  R.A.,  1786- 1808,  and  aquatinted  many  important 
works. 

Duncan,  Edward  (1804-1882),  painter,  engraver,  and  lithographer;  began 
life  as  a  pupil  of  R.  Havell.  In  1831  became  a  member  of  the  New 
Society  of  Painters  in  Water-Colours,  and  in  1849  an  Associate  of  the 
Old  Water-Colour  Society.  Some  of  his  aquatints  appeared  in  John 
Scott's  Sportsman^ s  Repository.  After  his  death  his  works  were  sold 
at  Christie's. 

Dunkarton,  Robert  (1744-181-.''),  mezzotint  engraver;  a  pupil  of  Pether ; 
awarded  premium  by  Society  of  Arts,  1762 ;  began  exhibiting  as 
portrait  painter  1768;  engraved  after  West,  Reynolds,  and  others,  after 
whom  he  engraved  one  of  the  plates  to  Thornton's  Temple  of  Flora 
(1807),  and  two  in  the  181 2  ed. 

Earlom,  Richard  (1743- 1822),  engraver  ;  pupil  of  Cipriani,  whose  paintings 
induced  him  to  become  an  artist  ;  engraved  three  plates  in  Thornton's 
Temple  of  Flora  (1807),  and  a  very  fine  Collection  of  Prints  after  .  .  . 
Cipriani ;  also  executed  prints  after  Claude. 

Edy,  John  William,  a  Dane,  executed  engravings  after  Pollard's  seascapes 
and  two  aquatints  of  racing  subjects ;  exhibited  seven  landscapes  in 
London,  1785-1807  ;  executed  the  plates  to  Boydell's  book  on  Norway 
and  other  works. 

Egerton,  D.  T.  (?-i842),  landscape  painter  and  engraver  ;  foundation 
member  of  Society  of  British  Artists,  exhibiting  with  them  in  1824, 
1829,  1838,  and  1840;  gained  some  fame  towards  the  end  of  his  life 
from  pictures  of  Mexican  life  and  scenery  ;  murdered  in  Mexico,  1842. 
Illustrated  Quiz  Fashionable  Bores. 

Elmes  aquatinted  one  plate  to  Thornton's  Temple  of  Flora  (1807). 

Fellowes,  W.  D.,  aquatinted  plates  to  Smith's  Antiquities  of  Westminster 
and  published  Visit  to  Monastery  of  La  Trappe. 

Fielding,  fohn  (1758?- 1790?),  engraver;  pupil  of  Ryland  and  Bartolozzi ; 
best  works  produced  1780-90  ;  also  aquatinted  plates  to  a  few  books. 

Fielding,  Newton  Smith  (1799- 18 56),  youngest  son  of  N.  T.  Fielding,  painter 
and  engraver ;  worked  chiefly  in  water-colour,  but  also  in  etching, 
aquatint  and  lithography ;  drawing-master  to  the  family  of  Louis 
Philippe  ;  published  several  drawing-books  ;  lived  most  of  his  life  in 
Paris,  where  he  died. 

Fielding,  Theodore  Henry  Adolphus  (1781-1851),  elder  brother  of  above; 
drawing  master  at  the  Military  College,  Addiscombe  ;  first  exhibited  at 
R.A.  as  a  boy  of  eighteen  ;  worked  in  stipple  and  aquatint ;  illustrated 
several  important  works  of  travel  and  books  on  art. 


362  HISTORY  OF  AQUATINT 

Finden,  Edward  Francis  (i 791-1857),  younger  brother  and  coadjutor  of 
William  Finden,  and,  like  him,  apprenticed  to  the  engraver  James 
Mitan  ;  chiefly  worked  as  a  line-engraver  on  the  fashionable  annuals, 
books  of  beauty,  etc.,  but  executed  plates  to  Maria  Graham's  (Lady 
Callcott's)  books  of  travel  and  other  works. 

Findlay,  illustrated  Little's  Confessions  of  an  Oxonian  and  Harriette  Wilson's 
Paris  Lions. 

Forrester,  Alfred  Henry,  see  Crowquill,  Alfred. 

Francia,  Louis,  aquatinted  the  plates  to  his  work,  Imitations  of  Studies  of 
Landscapes  by  Gainsborough,  dr^c. 

Fry,  William  Thomas  (1789- 1843),  engraver  ;  worked  chiefly  in  stipple  ; 
engraved  four  of  the  portraits  in  Fisher's  National  Portrait  Gallery, 
portraits  after  John  Jackson,  R.A.,  and  eleven  plates  in  Jones'  National 
Gallery;  occasionally  exhibited  at  Suffolk  Street  exhibition.  Illustrated 
Orme's  Historic  Anecdotes. 

Gardnor,  Rev.  fames  (1729- 1808),  originally  a  drawing-master  and  teacher  of 
calligraphy  ;  frequently  exhibited  with  the  Free  Society  of  Artists,  and 
in  1767  received  a  premium  from  the  Society  of  Arts;  took  Orders,  and 
in  1778  was  instituted  to  the  vicarage  of  Battersea,  which  he  held  till 
his  death  ;  from  1782-96  a  frequent  exhibitor  at  the  R.A.  ;  published 
two  very  early  books  with  aquatint  engravings.  See  account  of  him 
in  Gilchrist's  Life  of  Blake  and  in  Somerset  House  Gazette,  ii.  p.  65. 

Gaugain,  Thomas  (1748-18  ?  ),  born  at  Abbeville,  worked  in  London  first 
as  a  pupil  of  Houston,  afterwards  independently,  chiefly  on  a  large 
scale  ;  aquatinted  one  of  the  plates  to  the  181 2  edition  of  Thornton's 
Temple  0/  Flora. 

Gillray,  fames  (1757-1815),  son  of  a  trooper,  who  apprenticed  his  son  to  one 
Ashly,  a  letter-engraver  'at  the  bottom  of  Holborn-hill,'  which  made 
Gillray  say  afterwards  that  "the  early  part  of  his  life  might  be  compared 
to  the  spider's,  busied  in  spinning  of  lines  "  ;  rebelling  against  his  master, 
he  ran  away  and  joined  a  company  of  strolling  players  ;  returned  to 
London  and  became  a  student  of  the  R.A. ;  he  is  believed  to  have  worked 
under  Ryland  and  Bartolozzi,  and  produced  original  engravings  of  great 
merit,  in  which,  as  in  his  early  caricatures,  he  used  many  pseudonyms, 
f.  Kent,  f.  Hurd,  and  even  fames  Sayer;  earliest  known  work  a  cari- 
cature of  Lord  North,  dated  12th  June  1769  ;  earliest  print  bearing  his 
name,  dated  March  4th,  1779;  produced  in  all  some  1500  drawings; 
every  social  and  political  crisis,  every  movement  in  public  opinion, 
every  important  person,  male  or  female,  appears  in  his  work,  which 
deserves  high  admiration,  though  its  qualities  of  ferocity  and  coarseness 
are  at  times  almost  incredible  ;  was  particularly  happy  in  use  of  literary 
allusions ;  extraordinary  stories  told  of  his  facility  of  design  and 
execution  ;  died  in  his  dotage  at  Miss  Humphrey's  shop  in  St  James's 
Street,  where  he  had  lived  and  published  for  many  years  ;  buried  in  the 
churchyard  of  St  James's,  Piccadilly. 

Gilpin,  William  (1724- 1804),  schoolmaster,  author,  and  aquatint  engraver, 
descendant  of  Bernard  and  brother  of  Sawrey  Gilpin ;  kept  schools  at 
Cheam  and  elsewhi»re  managed  on  advanced  lines  ;  vicar  of  Boldre, 
1777  ;  published  numerous  biographies  and  religious  works,  and  eight 
works  illustrated  in  aquatint,  expounding  his  theories  of  the  '  pictur- 
esque '  and  heralding  the  return  to  Nature  of  the  Lake  School. 


APPENDIX  B  363 

Gleadah,  Joshua  (fl.  1816-1836),  produced  aquatints  for  books  by  Johnston 
and  Varley  in  18 16  and  1817  ;  as  late  as  1836  executed  an  aquatint  of 
Brighton  ;  no  personal  details  known. 

Godby^  James  (fl.  1790-1815),  stipple  engraver,  working  in  London;  earliest 
known  work  dated  1791  ;  principal  work  the  preparation  of  the  illustra- 
tions for  the  Fine  Arts  oj  the  English  School  and  some  aquatints  for 
Howitt's  Collection  oJ  British  Field  Sports.  In  1810  Godby  was  living^ 
at  25  Norfolk  Street  ;  no  other  personal  details  known. 

Green,  IVilliam  (1761 -1822),  horn  at  Manchester;  practised  as  a  surveyor 
in  the  North;  came  to  London  to  study  engraving;  returned  to  the 
North  and  settled  in  Lake  District,  of  which  he  aquatinted  many  views. 

//all,  J.,  aquatinted  plates  to  Smith's  Antiquities  oJ  Westminster. 

//amble,  J.,  aquatinted  plates  to  Blagdon's  Nelson,  Combe's  Westminster 
Abbey,  and  other  books. 

//ardie,  aquatinted  illustrations  to  Repton's  Sketches  on  /xindscape 
Gardening  and  Lugar's  Architectural  Sketches. 

//ardy,J.,  executed  plates  to  his  own  Tour  in  the  Pyrenees. 

t/arraden,  Richard  Bankes  (1778-1862),  son  of  Richard  Harraden,  artist 
and  engraver  ;  executed  four  aquatints  for  Girtin's  Views  of  Paris 
illustrations  for  his  father's  Cantabrigia  Depicta,  and  in  1830  pub- 
lished a  third  book  on  the  subject,  Illustrations  of  the  University  of 
Cambridge,  containing  34  new  views  as  well  as  24  of  those  in  the  earlier 
book  ;  member  of  Society  of  British  Artists,  1824- 1849. 

//assell,  John  (d.  1825),  water-colour  painter  and  engraver;  friend  and 
biographer  of  Morland  ;  produced  aquatint  illustrations  to  some  eleven 
books,  including  two  drawing-books. 

//avell,  Daniel,  aquatinted  plates  to  numerous  important  works  on  topo- 
graphy and  architecture,  including  Combe's  //istories  of  the  Universities 
and  Colleges. 

//avell,  Robert,  sen.  (fl.  1800- 1840),  engraver  and  art  publisher ;  executed 
many  important  works  in  aquatint,  notably  Audubon's  Birds  of  America. 

/iavell,  Robert,  jun.  (fl.  1820-1850),  painter  and  engraver,  collaborated  with 
his  father  in  several  topographical  books. 

//avell,  W.,  aquatinted  plates  to  his  Views  of  the  Thames. 

//awkins,  G.,  aquatinted  plates  to  Varley's  Precepts  for  Design  in 
Landscape. 

//eath,  Charles  (1785-1848),  engraver;  youngest  son  of  James  Heath  the 
engraver  ;  worked  chieRy  on  steel  after  other  artists,  in  Books  of  Beauty, 
engravings  to  Scott's  novels,  etc.  ;  aquatinted  i  plate  in  Westall's 
Victories  of  the  Duke  of  Wellington. 

//eath,  William,  Captain  of  Dragoons.  Drew  the  originals  of  the  plates  to 
Jenkins'  Martial  Achievements  and  many  of  those  to  Orme's  historic 
Military  and  Naval  Anecdotes.  Seems  also  to  have  engraved  those  to 
his  own  poem  On  the  Life  of  a  Soldier.  He  also  produced  many  sets 
of  plates  without  text,  the  last  about  1830, 


I 


364  HISTORY  OF  AQUATINT 

Heideloff^  Nicolas  Wilhelm  v.  (1761-1838  ?),  engraver;  pupil  of  Gotthardt 
and  Miiller ;  went  to  Paris  under  the  auspices  of  Duke  Charles  of 
Stuttgart ;  patronised  by  Louis  XVI.  ;  fled  to  England  at  the  Revolu- 
tion, and  remained  there  for  nearly  30  years  ;  in  181 5  made  director  of 
Hague  Gallery ;  executed  many  important  aquatint  plates,  publishing 
chiefly  in  London. 

Hill,  John,  aquatint  and  mezzotint  engraver,  who  produced  some  good 
plates  of  Lake  views  after  Charles  Dibdin  ;  according  to  Somerset  House 
Gazette,  ii.  p.  65,  was  in  1824  living  in  America. 

Hill,  R.,  collaborated  with  J.  Hill  in  the  illustrations  to  Roche's  Sketches  in 

Flanders. 

Hodges,  William  (1744- 1797),  landscape  painter;  draughtsman  to  Captain 
Cook's  second  expedition,  1772-75  ;  exhibited  at  Society  of  Artists  and 
Academy,  1766  onwards  ;  went  to  India,  and  was  patronised  by  Warren 
Hastings,  1778-84  ;  R.A.,  1789  ;  visited  St  Petersburg,  1790;  published 
Travels  in  India,  1793. 

Hopwood,  James,  sen.  (1752  ?- 18 19),  a  self-taught  engraver  ;  after  1797  worked 
with  James  Heatli  ;  secretary  to  the  Artists'  Fund  ;  worked  on  two  of 
the  plates  to  Thornton's  Temple  of  Flora  (1807). 

Hovfitt,  Samuel  {176^  ?-i822),  artist  and  engraver,  brother-in-law  of  Rowland- 
son  ;  self-taught  ;  distinguished  for  skill  in  drawing  animals  and  hunting 
scenes  ;  exhibited  R.A.,  1783-94  and  1814-15  ;  during  most  of  interven- 
ing period  lived  in  Bengal  making  studies  of  animals  and  wild  sports  ; 
returning  to  England,  published  several  important  books,  himself 
aquatinting  many  plates ;  three  of  his  pictures  in  Victoria  and  Albert 
Museum. 

Hughes,  S.  G.,  aquatinted  plates  to  Bury's  Views  on  Liverpool  and  Man- 
chester Railway. 

Hunt,  George,  aquatinted  plates  to  four  of  Egerton's  books  and  other  humorous 
works,  Grindlay's  Scenery  of  India,  and  other  volumes  on  Oriental 
subjects. 

Hunter,  Lieut.  J.,  an  English  officer  who  won  distinction  as  a  landscape 
painter,  and  in  conjunction  with  Richard  Daniell  produced  A  Brief 
History  of  Ancient  and  Modern  India. 

Ibbetson,  fulius  Ccesar  (1759-18 17),  son  of  a  Moravian,  brought  up  as 
Moravian  and  Quaker;  apprenticed  to  a  ship-painter  at  Hull;  in  1777 
came  to  London  and  got  work  from  a  picture-dealer  ;  exhibited  at  R.A., 
1785  onwards,  and,  getting  into  good  society,  was  offered  and  accepted 
a  post  in  Colonel  Cathcart's  Embassy  to  China  ;  on  his  return,  was  unable 
to  obtain  remuneration,  and  got  into  debt ;  in  1794,  having  lost  wife  and 
eight  of  eleven  children,  had  brain  fever  ;  was  robbed  of  all  his  posses- 
sions ;  like  his  friend,  George  Morland,  sought  relief  in  dissipation  ; 
fled  to  Liverpool ;  lived  in  retirement  in  Westmoreland  and  Scotland, 
and  found  many  patrons,  to  one  of  whom,  Lady  Keith  Lindsay,  he 
dedicated  his  only  book,  An  Accidence  or  Gamut  of  Oil  Painting  for 

i^  Beginners;  in  iboi  married  again,  and  eventually  settled  in  York- 
shire, where  he  died  ;  his  cattle  pieces  and  landscapes  earned  him 
from  Benjamin  West  the  title  of  the  "  Berghem  of  England  "  ;  worked 


APPENDIX  B  365 

also  in  etching  and  aquatint ;  with  Morland  and  Rathbone  formed 
"that  triumvirate  of  eccentricity,  tomfoolery  and  talent"  referred  to 
in  the  Somerset  House  Gazette. 

Ireland^  Samuel  (d.  1800),  author  and  engraver;  etched  plates  after 
Hogarth  arid  others  ;  published  several  volumes  of  picturesque  travels  ; 
collected  works  of  Hogarth  ;  issued  Graphic  Illustrations  of  Hogarth 
from  rare  prints  in  his  own  collection  ;  father  of  W.  H.  Ireland,  the 
Shakespearean  forger,  and  believer  in  his  honesty,  in  support  of 
which  he  published  pamphlets. 

Jeakes,  Joseph,  painter  and  engraver ;  exhibited  pictures  of  the  Battle  of 
Trafalgar  and  other  naval  subjects,  1806  ;  aquatinted  illustrations  to  two 
volumes  of  antiquities.  Thorn's  Conquest  of  Java  and  Spilsbury's  Scenery 
in  the  Holy  Land. 

Jones,  7".,  aquatinted  some  plates  to  the  London  Singer's  Magazine  and 
Singer  s  Album.. 

Josi,  Christian,  a  Dutch  engraver  and  printseller  working  in  London,  first  as 
a  pupil  of  Bartolozzi  ;  married  the  daughter  of  J.  J.  Chalon  and  returned 
to  Amsterdam  ;  in  18 18  returned  to  London  and  put  up  his  collection  of 
engravings  to  auction  ;  in  1821  issued  his  masterpiece  Collection 
d Imitations  de  Desseins,  a.  continuation  of  the  work  of  C.  Ploos  van 
Am  St  el. 

Jukes,  /'"rands  (1747- iS  12),  engraver  in  etching  and  aquatint ;  chiefly  worked 
on  topographical   prints  ;    described   in   the  Gent.'s  Mag.  (vol.    Ixxxii. 

E>.  300)  as  "  if  not  the  inventor,  certainly  the  first  that  brought  it 
aquatint]  to  a  degree  of  perfection  "  ;  when  "  upon  the  point  of  establish- 
ing a  good  exportation  trade  to  Basil  in  Switzerland,  that  curse  of 
nations,  the  French  Revolution,  broke  out,  which  blasted  all  his 
prospects  of  a  lucrative  connexion  in  that  profession,  as  it  did  those  of 
that  respectable  Artist,  Mr  Valentine  Green  "  ;  at  one  period  worked  in 
concert  with  R.  Pollard,  but  more  often  independently  ;  only  aquatint 
book  illustrations  those  to  Flaw's  Rural  Architecture. 

Kearnan,  Thomas,  aquatinted  some  plates  to  Nash's  Royal  Pavilion  at 
Brighton. 

Landseer,  Thomas  (1795-1880),  A.R.A.,  author  and  engraver ;  eldest  son  of 
John  Landseer  ;  chiefly  line  engraver  and  etcher,  but  did  a  little  work 
in  aquatint  ;  wrote  a  Life  of  Bewick  ;  only  aquatint  book  illustrations 
those  to  Rabelais'  Eloisa  and  Abelard,  and  one  of  the  plates  in 
Thornton's  Temple  of  Flora  (1807). 

Lane,  Theodore  (1800- 1828),  son  of  a  drawing-master  ;  apprenticed  to  one 
J.  Barrow  ;  exhibited  water-colour  portraits  and  miniatures  at  R.A.  and 
elsewhere  ;  turned  to  humorous  subjects,  and  published  book  illustra- 
tions and  sets  of  sporting  prints;  in  1825  took  up  oil-painting  with  some 
success  ;  died  by  an  accident  in  1828. 

Z^  Keux,  Henry  (1787- 1868),  younger  brother  of  John  le  Keux,  the  asso- 
ciate of  Pugin  ;  apprenticed  to  James  Basire  the  younger,  and  worked  on 
the  Oxford  Almanacs  and  plates  for  the  Society  of  Antiquaries  ;  worked 
on  architectural  drawings  with  his  brother ;  engraved  for  Annuals, 
1820-40  ;  gave  up  art  in  1838  and  became  a  manufacturer  ;  only  aqua- 
tint book  illustrations  some  plates  in  Nash's  Royal  Pavilion. 


366  HISTORY  OF  AQUATINT 

Lewis,  Frederick  Christian  (1779-1856),  pupil  of  J.  C.  Stadler  and  a 
student  at  the  R.A.  ;  aquatinted  most  of  Girtin's  Views  of  Paris; 
engraved  illustrations  to  famous  books  of  reproductions  from  the  Old 
Masters  ;  painted  landscapes,  and  published  books  on  English  scenery  ; 
executed  aquatints  to  some  sixteen  books,  and  collaborated  with  his 
brother  on  others.     (See  below.) 

Lewis,  George  Robert  (i  782-1 871),  painter  and  engraver,  younger  brother  of 
the  foregoing ;  studied  under  Fuseli  at  the  R.A.  ;  exhibited  at  R.A., 
1805-7  ;  worked  on  Ottley's  School  of  Design  with  his  brother  ;  invited  to 
accompany  Dr  Dibdin  on  continental  journey  in  1818,  and  illustrated  his 
Bibliographical  and  Picturesque  Tour  through  France  and  Germany; 
from  1820-59  was  constantly  exhibiting  pictures  of  all  sorts  at  all  the 
exhibitions  ;  his  published  works  range  from  anatomy  to  ancient  fonts 
and  elementary  education  ;  he  and  his  brother  (see  above)  executed 
aquatint  illustrations  to  some  twenty-two  books. 

Luilly,  worked  on  the  plates  of  Thornton's  Temple  of  Flora  (181 2). 

Mackenzie,  Frederick  (1788  ?- 1854),  water-colour  painter  and  topographical 
draughtsman;  exhibited  at  R.A.,  1804-28;  executed  aquatints  for 
Whitaker's  Abbeys  and  Castles  of  Yorkshire. 

Maddox  or  Maddocks,  executed  four  plates  to  Thornton's  Temple  of  Flora 
(18 12),  and  aquatinted  the  plates  to  Meyrick's  Critical  Enquiry  into 
Ancient  Armour. 

Maile,  G.  (18 — ?-i84-?),  aquatint  engraver;  executed  numerous  prints, 
chiefly  after  French  artists,  as  well  as  a  few  aquatint  illustrations  to 
Vidal's  Buenos  Ay  res  and  Monte  Video  ;  alive  in  1839. 

Malton,  fames  (d.  1803),  author  and  architectural  draughtsman  ;  aquatinted 
illustrations  to  several  books  ;  wrote  drawing-books  and  essays  on 
architecture. 

Malton,  Thomas  (1748- 1804),  brother  of  the  above  ;  architectural  draughts- 
man ;  principal  work.  Picturesque  Tour  through  London  and  IVest- 
minster. 

Manskirsch,  Franz  fosef  {or  J.  F.)  (1770-1827),  born  at  Cologne,  where  he 
distinguished  himself  as  landscape  painter  and  engraver  ;  from  1796- 
1805  worked  in  England  ;  worked  also  at  Bonn,  Frankfort,  Berlin,  and 
Dantzic ;  commissioned  by  Empress  Josephine  to  paint  views  on  the 
Rhine  ;  aquatinted  many  book  illustrations,  chiefly  for  Ackermann's 
publications. 

Marks.     This  name  appears  on  some  plates  in  Real  Life  in  Ireland. 

Medland,  Thomas  (?-i833),  landscape  painter  and  topographical  engraver  ; 
occasional  exhibitor  at  R.A.,  up  to  1822  ;  in  his  later  years  drawing- 
master  at  Haileybury  ;  published  work  ranges  from  1789-1805  ;  aquatinted 
illustrations  to  some  ten  books  by  Barrow,  Carr,  Gell,  and  others, 
including  one  plate  to  the  1807  Temple  of  Flora;  engraved  illustrations 
to  Stothard's  Robinson  Crusoe. 

Merigot,  /.,  draughtsman  and  engraver  ;  worked  in  Paris  c.  1772,  and  gave 
lessons  there  in  drawing  to  Pugin  family  ;  still  working  in  Paris,  1791  ; 
came  over  to  England  and  estabHshed  himself  as  a  drawing-master,  and 
produced  very  fine  aquatint  illustrations  to  drawing-books,  books  of 
travel,  costume  and  natural  history. 


APPENDIX  B  367 

Aferke,  H.,  painter  and  engraver  ;  born  at  Niederweningen,  in  Canton 
Zurich;  worked  in  London  c.  1800-20;  aquatinted  illustrations  to 
several  books,  and  sea  pieces  after  Atkins. 

Milton,  Thomas  (1743- 1 827),  son  of  John  Milton,  the  marine  painter,  and 
great-nephew  of  the  poet  ;  from  his  style  believed  to  have  been  a  pupil 
of  Woollett,  but  nothing  is  known  of  his  work  earlier  than  his  Views  of 
Seats  in  Ireland,  engraved  after  Ashford,  Wheatley,  etc.,  in  1783; 
illustrated  Shakespeare  ;  engraved  plates  in  Ottley's  Stafford  House 
Gallery ;  in  1801  produced  aquatints  to  Mayer's  Views  in  Egypt; 
governor  of  the  Society  of  Engravers  (1803). 

Moore,  C,  executed  plates  to  Nash's  Royal  Pavilion. 

Morton,  H.,  published  his  own  Views  of  Hastings,  and  aquatinted  the 
illustrations  to  Robson's  Scenery  of  the  Grampian  Mountains. 

Moses,  Henry  (1782- 1870),  worked  chiefly  as  an  outline  engraver;  earliest 
work  West's  Gallery,  which  was  followed  by  many  others  after  ori- 
ginals ranging  from  Canova  to  Retsch  ;  one  of  the  artists  attached  to 
the  British  Museum  ;  aquatinted  illustrations  to  Broughton's  Costume 
of  the  Mahrattas. 

Nash,  Frederick  (1782-1856),  water-colour  painter  and  architectural  draughts- 
man ;  student  of  R.A.  and  fellow-pupil  of  the  younger  Thos.  Morton 
exhibited  at  R.A.,  1800-47,  and  at  Society  of  Painters  in  Water  Colours, 
1810-56  ;  admired  by  Turner  ;  aquatinted  illustrations  of  the  Pavilion. 

Neale,fohn  Preston  (1780-1847 ;  some  authorities  say  1770  or  1771),  naturalist 
and  architectural  draughtsman ;  began  by  drawing  insects ;  searching  for 
specimens  in  Hornsey  Wood  at  sixteen,  met  John  Varley ;  the  two  pro- 
jected a  joint  work  on  Natural  History,  of  which  one  number  only 
appeared  ;  began  in  1797  to  exhibit  at  R.A.,  working  meanwhile  as  a 
Post-Office  clerk  ;  continued  to  exhibit  at  R.A.  and  elsewhere  until 
1844,  working  in  oil  and  water-colour  ;  his  name  is  found  on  many  of 
the  finest  plates  in  Smith's  History  and  Antiquities  of  Westminster,  and 
his  own  Views  of  Country  Seats,  for  which  he  executed  over  700  drawings. 

Neele,  executed  plates  to  Forbin's  Travels  in  Greece  and  Walsh's  Campaign 
in  Egypt. 

Parkyns,  G.  f.,  executed  the  plates  to  Moore's  Monastic  Remains  of  Ancient 
Castles  and  Monastic  and  Baronial  Remains. 

Peake,  R.  B.,  executed  most  of  the  plates  to  Costume  Caracteristique  de  France. 

Pickett,  executed  plates  to  Blagdon's  Nelson,  Girtin's  Paris  Views,  and 
Loutherbourg's  Romantic  Scenery  of  England  and  Wales. 

Piatt,  aquatinted  plates  to  Tristram  Shandy. 

Prout,  Samuel  {i7Syi8S2),  painter  in  water-colour ;  bom  and  educated  at 
Plymouth  ;  formed  friendship  with  B.  R.  Haydon,  two  years  his  junior  ; 
the  two  witnessed  loss  of  an  East  Indiaman,  which  suggested  the  first 
picture  of  each  ;  Prout  met  John  Britton,  then  collecting  material  for 
his  Beauties  of  England  and  Wales,  and  they  went  (i  801)  for  a  walking 
tour  in  Cornwall,  Prout's  sketches  proving  complete  failures  ;  exhibited 
at  R.A.,  1803,  his  prices  then  ranging  from  3s.  each  to  J^'^  the  dozen  ; 
lived  in  Devonshire  1805-1812  ;  returned  to  town  and  became  drawing- 
master  ;  worked  1813-21  for  Ackermann  ;  first  visited  Continent,  18 18, 
and  found  his  inspiration  in  the  buildings  of  foreign  towns ;  exhibited 


368  HISTORY  OF  AQUATINT 

547  works  at  Water  Colour  Society  between  1815  and  1832;  from 
1845-52  near  neighbour  and  friend  of  Ruskin  who  much  admired 
his  work. 

Pugh,  Edward {ly}- 181 3),  miniature  painter  and  architectural  draughtsman  ; 
exhibited,  R.A.,  1793-1821  ;  made  drawings  for  Modern  London,  etc.; 
only  aquatints  those  to  Wigstead's  Tour  to  N.  and  S.  Wales. 

Pugin,  Augustus  Charles  (i 762-1 832),  architect,  draughtsman,  and  antiquary  ; 
bom  in  France  ;  came  to  London  c.  1798  ;  employed  by  Nash  to  draw 
Gothic  buildings  ;  led  Gothic  revival ;  trained  young  architects,  in- 
cluding his  famous  son  ;  most  famous  work  to  be  found  on  the  plates  to 
Pyne's  Microcosm  oj  London. 

Pyall,  H.,  executed  numerous  racing  prints,  and  plates  to  Moore's  Burmese 
War  and  Bury's  Views  on  Liverpool  and  Manchester  Railway. 

Pyne,  William  Henry  (1769- 1843),  writer,  painter,  and  engraver  ;  first  ex- 
hibited at  R.A.,  1790,  worked  much  for  Ackermann  as  author  and  artist ; 
invented  new  method  of  illustration  in  his  Microcosm,  in  which  numerous 
small  groups  of  figures  were  engraved  and  tinted  by  hand  ;  about  1820 
abandoned  art  for  literature,  and  produced  important  works  of  art, 
gossip,  and  literary  anecdote  under  the  name  of  Ephraim  Hardcastle. 

Quilley,  J.  P.,  engraver  ;  executed  important  single  plates  after  Rembrandt, 
Turner,  Bonington,  and  others,  and  five  of  the  plates  to  Thornton's 
Temple  of  Flora  (181 2)  ;  still  alive  in  1842. 

Rawlins,  T.  J.,  aquatinted  plates  to  Aiken's  Memoirs  of  John  Mytton. 

Read,  W.,  executed  plates  to  two  books  of  travels  and  one  or  two  humorous 
books,  including  Adventures  of  Johnny  JSewcome. 

Reeve,  A.  W.,  collaborated  with  R.  G.  Reeve  in  the  plates  to  Phillips' 
Practical  Treatise  an  Drawing. 

Reeve,  R.  G.,  executed  plates  to  eleven  volumes,  including  treatises  on  art, 
books  of  travel  in  India  and  the  West  Indies,  and  works  on  topography 
and  architecture,  including  Combe's  Histories  of  the  Universities. 

Reinhardt,  fohann  Christian  (i 761 -1847),  a  Franconian  by  birth,  son  of  a 
pastor;  went  to  Leipsic  at  the  age  of  17  to  study  theology;  relin- 
quished it  for  art,  and  won  the  favour  of  the  Duke  of  Saxe-Meiningen, 
and  later,  in  1789,  that  of  the  Margrave  of  Anspach,  who  sent  him  to 
Rome  ;  became  one  of  the  leaders  of  the  "  Regeneration  "  of  German 
art ;  in  1825  painted  eight  landscapes  in  tempera  in  the  Villa  Massimi ; 
others  for  Ludwig  of  Bavaria  (1826)  ;  his  aquatint  engravings  are  of 
great  importance,  Nagler  enumerates  no  less  than  173. 

Richardson,  George  (1736  ?-i8i7  ?),  architect  and  engraver  ;  1760-63,  travelled 
in  Mediterranean,  studying  remains  of  ancient  architecture  ;  on  his 
return  to  England  achieved  some  success  ;  by  1765  gained  a  premium 
from  the  Society  of  Arts  ;  decorated  buildings  in  antique  style,  and 
published  some  eleven  volumes  on  antique  decoration  as  applied  to 
modern  buildings  between  1774  and  1816,  most  of  them  illustrated  in 
aquatint,  on  some  of  which  his  son  also  worked  ;  fell  into  distress,  and 
was  often  assisted — mirabile  dictu — by  Nollekens  ;  last  known  date  on 
a  work  of  his,  1816. 


APPENDIX  B  369 

Richardson^  Thomas  Miles  (1784- 1848),  engraver  and  landscape  painter ; 
began  to  exhibit  at  R.A.,  1818  ;  member  of  New  Water  Colour  Society  ; 
aquatinted  plates  to  Architectural  Antiquities  of  Northumberland. 

Roberts,  Percy,  executed  plates  to  Sterne's  Sentimental  Journey. 

Roffe,  John  (1769-1850),  chiefly  worked  on  architectural  subjects  for  book- 
sellers ;  engraved  five  plates  for  Thornton's  Temple  of  Flora  (181 2). 

Rooke,  H.^  aquatinted  plates  to  Rev.  J.  Douglas'  Nenia  Britannica. 

Rosenberg,  Michael,  engraver,  working  in  England  18 16- 1843  ;  aquatinted 
illustrations  to  several  books  on  architecture,  as  well  as  single  plates. 

Rouse,  J.,  executed  plates  to  Mudford's  Campaign  in  the  Netherlands. 

Rowlandson,  Thomas  (1756- 1827),  artist,  etcher,  and  caricaturist  ;  studied  at 
R.A.  and  in  Paris  ;  first  exhibited  at  R.A.,  1775  ;  settled  in  London, 
1777,  and  painted  portraits  and  social  scenes  ;  developed  powers  of 
caricature,  1781  ;  published  many  single  plates  and  many  illustrations 
to  books,  the  most  famous  those  to  Dr  Syntax,  though  the  Combe- 
Rowlandson  alliance  produced  other  books  almost  as  good ;  his  most 
restrained  work  executed  for  Ackermann  ;  24  books  in  all  illustrated  by 
him  in  aquatint. 

Sandby,  Paul  (i 725-1809),  water-colour  painter  and  engraver  ;  born  at 
Nottingham  ;  held  appointment  in  Military  Survey  at  the  Tower,  1741  ; 
assisted  in  survey  of  Highlands  after  the  insurrection  of  '45  ;  published 
book  illustrations  and  caricatures  ;  .exhibited  at  Society  of  Artists,  1760- 
68,  and  became  its  director,  1765  ;  chief  drawing-master  at  Woolwich 
Academy,  1768-97  ;  foundation  member,  R.A.,  1768  ;  exhibited  1769  and 
1809 ;  distinguished  as  topographical  artist ;  introduced  "  aquatinta  "  into 
England,  1774. 

Sanson,  jun.,  executed  plates  to  Cell's  Itinerary  of  Greece. 

Sayer,  or  Say  ers,  James  (1748- 1823),  political  caricaturist  and  engraver; 
born  at  Yarmouth  ;  articled  to  an  attorney  ;  came  to  London,  c.  1780  ; 
gave  full  scope  to  his  bent  for  social  and  political  caricature  ;  taking  the 
side  of  Pitt  and  the  Constitution,  his  attacks  on  Fox  and  the  republican 
party  proved  invaluable  to  Government,  and  Fox  declared  that  they  did 
him  more  harm  than  all  the  attacks  of  Parliament  and  the  press  ; 
rewarded  with  a  clerkship  of  the  Exchequer  and  other  posts  ;  about  100 
of  his  plates  known  ;  only  aquatint  book  illustrations  those  to  Foundling 
Chapel  Brawl. 

Segard,  aquatinted  some  of  the  plates  to  Rosenberg's  Picturesque  Views  .  .  . 
in  Paris. 

Shury,  T,  aquatinted  plates  to  F.  Accum's  Guide  to  Chalybeate  Spring  of 
Thetford. 

Smart,  executed  plates  to  Cox's  Views  of  Bath  and  Pyne's  Social  Club. 

Stadler,  Joseph  Constantine,  only  known  as  a  German  engraver  working 
chiefly  in  England,  c.  1780- 1830,  mainly  after  the  designs  of  other  artists  ; 
produced  aquatint  illustrations  to  some  31  books,  including  four  plates 
to  the  1807  edition  of  Thornton's  Temple  of  Flora  and  five  to  that  of 
1 812,  many  among  the  finest  ever  executed. 

Stoker,  W.,  aquatinted  the  plates  to  James  Forbes'  Oriental  Memoirs,  after 
drawings  by  the  author. 


370  HISTORY  OF  AQUATINT 

Stothard,  Charles  A//red  (iyS6-iS2i),  second  son  of  Thos.  Stothard,  R.A.  ; 
student,  R.A.,  1807;  first  exhibited,  181 1,  Murder  of  Richard  11.^ 
notable  for  strict  accuracy  in  costumes  ;  won  reputation  as  antiquarian 
draughtsman  ;  employed  by  Society  of  Antiquaries  on  drawings  of 
Bayeux  Tapestry,  1816-18;  in  1821  went  down  to  Devonshire  to 
execute  drawings  for  Lyson's  Magna  Britannia  ;  fell  from  a  ladder  in 
Bere  Ferrers  Church,  and  was  killed. 

Sutherland,  Thomas  {c.  1785-18?),  engraver  ;  worked  in  London,  chiefly  in 
aquatint,  on  topographical  plates  and  sporting  scenes  ;  executed  aqua- 
tints to  20  volumes,  including  two  plates  in  Thornton's  Temple  of  Flora 
(1807) ;  best-known  of  the  single  plates  "  Nord  country  at  the  Peakock, 
Islington  "  (Nagler),  otherwise  "  Departure  of  the  Northern  Mail  from 
the  Peacock  Tavern,  Islington"  ;  also aquatinted  ^  Panoramic  View  of 
the  City  of  Rome  by  Thos.  Shew,  1825. 

Testard,  Franqois  Martin,  a  French  painter  and  engraver  and  pupil  of 
Suv^e,  working  in  Paris  ;  aquatinted  some  of  the  plates  to  Rosenberg's 
Picturesque  Views  in  Paris  ;  still  alive  in  1830. 

Testolini,  G.,  aquatinted  plates  to  his  own  Rudiments  of  Drawing 
Flowers. 

7>'/«»i  J,  aquatinted  Twelve  Views  of  Reading  {iZ2^). 

Tingle,  James,  steel  engraver,  aquatinted  some  plates  to  Nash's  Royal 
Pavilion  ;  still  living  in  1848. 

Tomkins,  Charles  (1750  ?-i8o5  ?),  eldest  son  of  W.  Tomkins,  A.R.A.,  born  in 
London  c.  1750;  in  1776  awarded  a  premium  for  topographical  picture 
by  Society  of  Arts  ;  exhibited  15  landscapes  at  R.A.,  1773-79,  many  of 
which  he  engraved  ;  illustrated  several  books,  1796- 1805,  after  which  he 
disappears  from  view. 

Tomkins,  Peltro  William  (i 759-1 840),  younger  brother  of  the  above; 
apprenticed  to  Bartolozzi  and  became  one  of  his  best  pupils  ;  in  1793 
appointed  engraver  to  Queen  Charlotte ;  drawing-master  to  the 
princesses  ;  carried  on  business  as  print  publisher  in  Bond  Street, 
publishing  Ottley's  Original  Designs  of  the  Most  Celebrated  Masters,  and 
Tresham's  British  Gallery  of  Pictures,  which  involved  him  in  financial 
difficulties  ;  like  Boydell,  disposed  of  his  property  by  auction  ;  aqua- 
tinted illustrations  to  Cell's  Ithaca. 

Turner,  Charles  (1774-1857),  engraver;  exhibited  at  R.A.,  1810-57;  exe- 
cuted aquatint  plates  to  a  dozen  books  ;  most  famous,  however,  for  his 
mezzotint  plates  to  J.  M.  W.  Turner's  Liber  Studiorum. 

Vivares,  Thomas  (1735- 18 10?},  engraver;  son  and  assistant  of  Frangois 
Vivares  ;  aquatinted  plates  to  Howitt's  Field  Sports  and  Spilsbury's 
Holy  Land. 

Wageman,  T.    His  name  appears  on  one  plate  in  Blackmantle's  English  Spy. 

Wardy  Col.,  aquatinted  some  plates  to  Blagdon's  Ancient  and  Modern  India. 

Ward,  IV.  {1766-1S26),  A.R.A.,  mezzotint  and  aquatint  engraver;  appren- 
ticed to  J.  R.  Smith  ;  first  exhibited  at  R.A.,  1795  J  executed  two  plates 
to  the  1807  edition  of  Thornton's  Temple  of  Flora  ;  mezzotint  engraver 
to  the  Prince  Regent  and  Duke  of  York. 


APPENDIX  B  371 

Warner,  aquatinted  three  of  the  plates  to  the  1807  edition  of  Thornton's 
Temple  of  Flora. 

Watts,  William  (i 752-1 851),  son  of  a  master  weaver  ;  received  art  educa- 
tion from  Paul  Sandby  and  E.  Rooker ;  first  independent  publication, 
Seats  of  the  Nobility  and  Gentry  (1779-86)  ;  being  ardently  in  favour  of 
French  Revolution,  went  to  Paris,  1793,  where  some  of  his  plates  for 
Country  Seats  were  engraved  by  Guyot  ;  lost  his  property  in  the  French 
Funds,  and  resumed  engraving  ;  only  aquatint  book  illustrations  by  him 
those  to  Mayer's  Views  in  Turkey ;  became  blind  and  died  in  retirement, 
aged  nearly  100. 

Weiber,  S.,  aquatinted  A  Panoramic  View  of  the  Alps. 

Wells,  f.  G.,  executed  numerous  views  of  English  scenery  in  aquatint  after 
S.  Ireland  and  others  ;  executed  plates  to  Allan's  Views  in  the  Mysore 
Country. 

Westall,  William.  (1781-1850),  topographical  painter  and  engraver,  younger 
brother  of  Richard  Westall,  R.A.  ;  draughtsman  to  Flinders'  Australian 
expedition,  1801-5  ;  travelled  also  in  China,  India,  Madeira,  and  the 
West  Indies,  many  drawings  of  which  were  exhibited  ;  A.R.A.,  1812  ; 
executed  many  topographical  prints ;  aquatinted  illustrations  to  six 
books  of  English  and  one  of  Spanish  scenery. 

Wild,  C^ar/«  (1781-1835),  water-colour  painter  and  engraver;  apprenticed 
to  Thos.  Malton  ;  prominent  member  and  official  of  Old  Water- Colour 
Society ;  executed  many  pictures  and  aquatint  engravings  of  French 
and  English  Cathedrals. 

Williams,  C,  executed  aquatint  engravings  to  Johnston's  Travels  in  the 
Russian  Empire. 

Woodman,  Richard  {lyS^-iSsg),  son  of  an  engraver  of  same  name  ;  pupil  of 
Meadows  the  stipple  engraver ;  worked  as  engraver,  miniaturist,  and 
painter  in  water-colours,  and  exhibited  twenty-one  portraits  at  R.A., 
1820-1850  ;  in  1808  engaged  by  Wedgwood  to  superintend  engraving 
department  at  Etruria,  but  soon  gave  it  up  and  returned  to  town  ; 
engraved  sporting  and  other  plates  and  many  book  illustrations,  only 
one  series  being  in  aquatint,  viz.,  Frankland's  Shooting. 

Woolnoth,  Thomas  (1785-183  ?),  engraver;  a  pupil  of  C.  Heath, executed  one 
of  the  aquatint  plates  to  the  1807  edition  of  Thornton's  Temple  of  Flora. 

Wright,  f.  H.y  executed  aquatint  engravings  to  Cell's  Ithaca  and  Itinerary. 

Ziegler,  Conrad  (i770?-i8io?),  bom  at  Ziirich  ;  pupil  of  Conrad  Gessner  ; 
came  to  England  and  executed  some  rare  aquatint  engravings  and  the 
illustrations  to  Gesner's  Military  Evolutions. 


APPENDIX  C 


ARTISTS  WHOSE  NAMES  APPEAR  ON  THE 
PLATES 


Abbott,  Hon.  C. 
Abel,  C. 
Alexander,  W. 
Aiken,  S. 
Allan,  Capt. 
Allan,  D. 
Atkinson,  J.  A. 
Audubon,  J.  J. 

Bakewell,  R. 
Barber,  T. 
Barron,  Capt.  R. 
Beaumont,  A.  de 
Bell. 

Bellasis,  G.  H. 
Berry,  W. 
Blake,  C. 
Bluck,  J. 
Bonington,  R.  P. 
Bradford,  Rev.  W. 
Bridgens,  R. 
Broughton,  Rev.  B. 
Brown,  W. 
Browne,  J. 
Bruce. 
Bryant,  J. 
Buck,  A. 
Bullock,  W. 
Burchell,  W.  J. 
Bury,  Mrs  E. 
Bury,  T.  T. 

Callcott,  a.  W. 
Calvert,  F. 
Campbell,  Rev.  J. 
Caracci,  A.  A.  and  L. 
Carr,  Sir  J. 
Cassas,  L.  F. 
Cattermole,  R. 
Catton,  C. 
Clark,  J. 
Clark,  J.  H. 
37a 


Clark,  W. 
Cockerell,  C.  R. 
Colebrook,  R.  H. 
Collings,  S. 
Collins,  W. 
Compton. 
Cooke,  Lieut.  I. 
Cox,  D. 
Craig,  W.  M. 
Crewe,  Emma 

Daniell,  S. 
Daniell,  T. 
Daniell,  W. 
Davenport,  W. 
Davis,  S. 
Dearn,  T.  D.  W. 
Deen  Alee 
Denon 
De  Wint,  P. 
Dibdin,  C. 
Dibdin,  Miss 
Dodd,  R. 
D'Oyley,  C. 
Dwarris,  W.  H. 

E.,  C.  L. 

Earle,  A. 

Earlom,  R. 

Eben,  Major  Baron 

Eckstein,  J.  E. 

Edridge,  H. 

Edy,  J.  W. 

Egerton,  M. 

Elsam,  R. 

Elmes,  J. 

Estcourt,  T.  H.  S.  B. 

Farington,  J. 
Feary,  I. 
Fellowes,  W.  D. 
Fielding,  C.  V. 


Fielding,  T.  H.  A. 

Fitzclarence,  G. 

Forbes,  J. 

Forrest,  C.  R. 

Fox,  C. 

Frankland,  Capt.  C.  C. 

Frankland,  Sir  R. 

Gandy,  J. 
Gainsborough,  T. 
Gardnor,  Rev.  J. 
Cell,  W. 
Gendall,  J. 
Gilpin,  W. 
Girtin,  T. 
Gold,  Capt.  C. 
Graham,  Maria 
Green,  J. 
Green,  W. 
Grindlay,  Capt.  R.  M. 

Hakewill,  J. 
Hamilton,  C.  C. 
Hardy,  J. 
Harley,  G. 
Harraden,  R. 
Hassell,  J. 
Havell,  R. 
Havell,  W. 
Haygarth,  W. 
Hayman,  F. 
Heath,  W. 
Heriot,  G. 
Hills,  R. 
Hodges,  W. 
Hofland,  T. 
Hogarth,  W. 
Hoppner,  T. 
Howitt,  S. 
Huett. 
Hulley,  T. 
Hutton,  W. 


APPENDIX  C 


373 


Ibbetson,  J.  C. 
Ireland,  S. 
Ireland,  W.  H. 
Isabey,  £. 

Jackson,  J.  G. 
James,  J.  T. 
Johnson,  J. 
Johnston,  R. 
Jones,  Capt.  G. 
Jones,  R. 

Knell,  W. 

Landmann,  G. 

Lane,  T. 

Laporte,  J. 

Lavrof. 

Legh,  T. 

Lewis,  F.  C. 

Lory,  J.  and  J. 

Loutherbourg,  P.  J.  de 

Lugar,  R. 

Mackenzie,  F. 
M'Leod,  J. 
Malton,  J. 
Malton,  T. 
Manskirsch,  J.  F. 
Marryat,  Capt. 
Marshall,  T.  F. 
Mayer,  L. 
M'Quin. 
Merigot,  J. 
Mitford,  J, 
Moore,  J. 
Morier,  J. 
Morland,  G. 
Morn  ay, 
Morris,  R. 
Morton,  H, 
Muys,  C. 


Nash,  F. 
Nattes,  J.  C. 
Nicholson,  F. 
Nightingale,  T. 
Noble,  J.  R. 

Orme,  D. 
Orme,  W. 
Owen,  S. 

Parkyns,  G.  J. 

Peake,  R.  B. 

Phillips,  G.  F. 

Plaw,  J. 

Pocock,  Lt.  W.  Innes 

Porter,  R.  K. 

Prout,  S. 

Pugh,  E. 

Pugin,  A. 

Pugin,  C.  A. 

Pyne,  W.  H. 

Raper,  H. 
Rawlins,  H.  A. 
Rawlins,  T.  J. 
Repton,  H. 
Richards,  T.,  jun. 
Richardson,  G. 
Richardson,  T.  M. 
Robson,  G.  F. 
Roche,  H. 
Rogers,  B. 
Rosenberg,  M. 
Ross,  Capt.  J. 
Rouse,  J. 
Rowlandson,  T. 

Salt,  H. 
Salviati,  G. 
Samuel,  G. 
Sandby,  P. 
Schiitz,  M. 
Segard. 
Semple,  Miss 
Serres,  D.  and  J.  T. 


Shepheard,  G. 
Simond,  L. 
Singleton 
Smirke,  R. 
Smith,  C.  H. 
Smith,  C.  Loraine 
Smith,  Col.  H. 
Smith,  J. 
Smith,  J.  E. 
Smith,  Capt.  R. 
Spilsbury,  J.  B. 
St  Clair,  T.  S. 
Stephanoff,  J. 
Stubbs,  G. 
Stothard,  C. 
Svinine,  P. 

Temple,  Lt.  R. 
Testard,  F.  M. 
Testolini,  G. 
Thurston,  J. 
Turner,  C. 
Turner,  J.  M.  W. 
Tomkins,  C. 

Varley,  J. 
Vernet,  H. 

Walker,  G. 
Walton,  J. 
Ward,  Mrs 
Wathen,  J, 
Watts,  W.  H. 
Webber,  J. 
Welsh,  Col.  J. 
West,  J.  and  L. 
Westall,  R. 
Westall,  W. 
Wheatley,  F. 
Whitcombe,  T. 
Wigstead,  H. 
Wild,  C. 
Wilkinson,  J. 
Wood,  I.  G. 
Woodward,  G.  M. 


APPENDIX  D 

PUBLICATIONS  BY  ACKERMANN  WITH  AQUATINT 

PLATES 

Groups  of  Figures  for  Decorating  Landscapes.     1798.    i'^ plates  after  Pyne. 

Collection    of   Various    Forms  of   Stoves,   etc.       1798.       24  plates  after 
JV.  Robertson. 

Loyal  Volunteers  of  London  and  Environs.     1799.     87  coloured  plates  by. 

T.  Rowlandson. 
Horse  Accomplishments.       1799.      12  coloured  plates  by  T.  Rowlandson 

and  G.  M.  Woodward. 
Book  of  Landscapes  and  Ruins.     1800.     6,  plates. 

Designs  in  Architecture  for  Garden  Chairs,  etc.    1800.    Title  and  24  coloured 

plates  by  W.  Robertson. 
Progressive  Lessons  for  Drawing  Landscapes.     1800.     16  coloured  plates. 

Smollett.     Roderick  Random.     1800.      2  plates  by  J.  C.  Stadler  after  T. 

Rowlandson. 
Military  Evolutions.     1801.     -ip  aquatint  plates  by  Zeigler  and  Bluck.    Text 

by  C.  Gessner. 
Nelson's  Funeral  Procession.     1806.     6  coloured  plates.,  including  1  from 

drawings  by  M''Quin  engraved  by  Ackermann. 

Costume  of  the  Russian  Army.     1807.     Z  plates. 

Ackermann's  New  Drawing  Book.    1808.    Title  and  2 s^ plates  by  Manskirsch. 

Studies  of  Rural  Life.     1808.     \z  plates  by  f.  F.  Manskirsch. 

Swedish  Army.     6  parts.     1808.    24  coloured  plates  by  N.  IV.  Heideloff  after 

Baron  Eben. 
Treatise  on  the  Use  of  Indian  Inks  and  Colours.     1808.     6  coloured  plates 

by  R.  B.  Harraden  and  J.  Bluck.     Text  by  f.  Bryant. 

Drawing  Book  of  Light  and  Shadow,  in  imitation  of  Indian  Ink.     1809. 
2/^  plates  by  T.  Sutherland  and  f.  Bluck. 

Microcosm  of  London.    1809-10.    104  plates  after  A.  Pugin  and  T.  Rowland- 
son.    Text  to  Vols.  I.  and  II.  by  IV.  H.  Pyne,  and  to  Vol.  III.  by  W.  Combe. 

Westminster  Abbey.      1812.      83  plates   after  A.  Pugin.,  Huett,  and  F. 

Mackenzie.     Text  by  Combe. 
Rudiments   of  Landscape   Drawing.      18 12.      14  plates^  of  which  7  are 

coloured.,  after  Pyne. 
Cheltenham.     1813.     6  coloured  plates  by  H.  Merke  and  J.  Bluck  after 

T.  Hulley. 
Historical  Sketch  of  Moscow.     1813.     \2 plates. 

Rudiments  of  Landscape.     18 13.    di,  plates.,  of  which  40  are  aquatint.,  24 
plain.,  and  16  coloured.,  after  S.  Prout. 
374 


Text  by  Combe,  except  Winchester,  Eton, 
and  Harrow,  which  are  by  W.  H. 
Pyne. 


APPENDIX  D  375 

Sketches  of  Russia.     1814.     \^ plates. 

University  of  Oxford.     1 8 1 4.     84  plates  after  Nash,  Pyne,  Pugin,  Mackenzie, 
etc.     Text  by  IV.  Combe. 

Portraits  of  the  Founders.     Supplementary  to  above.     32  plates. 

Costume.     Supplementary  to  above.     17  plates  after  T.  Uwins. 

University  of  Cambridge.     181 5.     Z\  plates.     Text  by  W.  Combe. 

Portraits  of  the  Founders.     Supplementary  to  above.     16  plates. 

Costume.     Supplementary  to  above.     \^  plates. 

College  of  Winchester.     18 16. 

College  of  Eton.     48  plates. 

College  of  Westminster. 

The  Charter  House. 

Free  School  of  St  Paul. 

Free  School  of  Merchant  Taylors. 

Free  School  of  Harrow. 

Free  School  of  Rugby. 

School  of  Christ's  Hospital. 

Hints  for  Improving  the  Condition  of  the  Peasantry.     1816.     10  coloured 
plates.     Text  by  R.  Elsam. 

Grand  Master,  or  Adventures  of  Qui  Hi  in  Hindostan.    1816.    Title,  frontis- 
piece, and  lb  plates  by  Rowlandson,  of  which  25  are  coloured. 

Costume  of  the  Netherlands.     181 7.     Vignette  and  y:>  coloured  plates  from 
drawings  by  Miss  Semple. 

Visit  to  the  Monastery  of  La  Trappe  in  1817.     1818.     \^ plates  by  I.  Clark 
from  drawings  by  W.  D.  Fellowes,  of  which  12  are  coloured  aquatint. 

Cabinet  of  the  Arts.     (32  monthly  parts)  1819-21.     A  few  coloured  aquatints 
after  S.  Prout  and  others. 

Chinese  Puzzles.     1820.     \i plates. 

Picturesque  Tour  along  the  Rhine.     1820.     Text  by  J.  G.  von  Gerning.     24 
plates  after  Schiitz. 

Picturesque  Illustrations  of  Buenos  Ayres  and  Monte  Video.      1820.     24 
plates.     Text  by  E.  E.  Vidal. 

Picturesque  Tour  of  the  English  Lakes.     1820.    48  plates  after  T.  H.  A. 
Fielding  andf.  Walton. 

Series  of  Easy  Lessons  in  Landscape  Drawing.     1820.     ^opiates,  including 
16  aquatints,  of  which  8  are  coloured,  after  S.  Prout. 

Picturesque  Tour  of  the   Seine.      1821.      24  plates  after  A.  Pugin  and 
J.  Gendall. 

Architectural  Recreations,  being  a  sequel  to  Geometrical  Recreations.    1822. 
I},  plates,  of  which  11  are  aquatint. 

Illustrations  of  Japan.     1822.     13  coloured  plates.,  some  of  which  are  aquatint 
I  by  Stadler.     Text  by  F.  Shoberl,from  French  of  I.  Titsingh. 

Views  of  Switzerland.     1822.     7.0  coloured  plates. 


376  HISTORY  OF  AQUATINT 

Vicar  of  Wakefield.  1823.  24  coloured  plates  by  Rowlandson.  Text  by 
O.  Goldsmith. 

British  Proverbs.     1 824.     6  plates. 

Picturesque  Tour  of  the  Ganges  and  Jumna.     1824.     7.^  plates  by  Forrest. 

Picturesque  Tour  through  the  Pyrenean  Mountains,  Auvergne,  etc.  1824. 
12  plates  by  W.  Read  and  F.  C.  Lewis  after  Heriot. 

Variedades  o  Mensagero  de  Londres.  1824-25.  96  coloured  plates  by 
Rev.J.B.  White. 

Academy  for  Grown  Horsemen.     1825.     27  coloured  plates  by  Gambado. 

Coloured  Views  of  Parks  and  Gardens.  1825.  8  coloured  plates  by 
Manskirsch. 

Museo  Universal  de  Ciencas  y  Arte.  1825-6.  2  vols.  8vo.  London  and 
Mexico. 

Scenery,  etc.,  of  India.     1826.     is^ plates  by  Grindlay. 

D'Oyley  (Sir  C).     Tom  Raw  the  Griffin.     25  coloured  plates.     Zvo.     1828. 

Picturesque  Tour  of  the  Thames.     1829.     2^  plates  after  Westall  and  Owen. 

Views  on  the  Liverpool  and  Manchester  Railway.  1831-33.  15  coloured 
plates  chiefly  after  Bury,  by  Pyall  and  Hughes. 

Memoirs  of  John  Mytton  ;  by  Nimrod.  1835,  '^'^yji  1851.  18  coloured  plates 
drawn  and  etched  by  H.  A.  and  T.J.  Rawlins,  aquatinted  by  Duncan. 

On  Painting  in  Oil  and  Water  Colours  for  Landscape  and  Portraits.  1839. 
\o  plates,  of  which  4  are  coloured. 

Picturesque  Description  of  the  River  Wye.  1821.  24  coloured  plates  by 
Fielding. 

Epitome  ...  of  the  Royal  Naval  Service  of  England.  1841.  8  coloured 
plates  by  Fielding  after  Knell.     Text  by  E.  and  L.  Miles. 

Life  of  a  Sportsman  ;  by  Nimrod.     1842.     36  coloured  plates  by  Aiken. 

Series  of  Progressive  Lessons  intended  to  Elucidate  the  Art  of  Painting  in 
Water  Colours.  1845.  \()  plates,  of  which  \2  are  coloured  aquatint,  by 
Cox. 

Views  of  Raglan  Castle.     N.D.     6  plates  drawn  and  engraved  by  Westall. 


REPOSITORY  OF  ARTS,   LITERATURE,    FASHIONS,  MANUFACTURES,   ETC., 

1809-28,  containing: — 

Observations  on  the  Fine  Arts.     1809-15.     Text  by  '■'■Junius}'' 

British  Sports.     1809- 11.     -yi  plates.     Text  by  S.  Howitt. 

History  of  the  English  Drama.     1823-28.     Text  by  W.  C.  Stafford,  of  York. 

Modern  Spectator.     1811-15.     Text  by  W.  Combe. 

Cogitations  of  Johannes  Scriblerus.     18 14-16.     Text  by  W.  Combe. 

Female  Tatler.     1816-21.       Text  by  W.  Combe. 

Adviser.     1817-22.     Text  by  W.  Combe. 

Ameha's  Letters.     1809-11.     Text  by  W.  Combe.     Republished  as 

Letters  between  Amelia  in  London  and  her  Mother  in  the  Country.     1824. 


APPENDIX  D  377 

Letters  from  Italy.     1809-13.     Text  by  Lewis  Engelbach.    Reprinted  as 

Naples  and  the  Campagna  Felice.     181 5.     x-^ plates  by  Rowlandson. 

Select  Views  of  London.  1810-15.  76  plates.  Text  by  J.  B.  Papworth 
Reprinted  1.816. 

Designs  for  Furniture  (First  Series).     1809-15.     ^b  plates.     Reprinted  as 

Upholsterer's  and  Cabinetmaker's  Repository.     181 6. 

Architectural  Hints.      1816-17.      Text  by  J.  B.  Papworth.     Reprinted  as 

Rural  Residences.     1818. 

Tour  in  the  South  of  France.  1817-20.  17  plates  after  Rowlandson. 
Reprinted  \Z^\  as 

A  Journal  of  Sentimental  Travels  in  the  Southern  Provinces  of  France. 

Picturesque  Tour  from  Geneva  to  Milan  by  Way  of  the  Simplon.  1818-20. 
"i^d plates.     Text  by  F.  Shoberl.     Reprinted  iZzo. 

Pictorial  Cards.     1818-19.     Reprinted  \Z\^. 

Hints  on  Ornamental  Gardening.  28  plates.  Text  by  J.  B.  Papworth. 
Reprinted  1823. 

Picturesque  Tour  through  the  Oberland  in  the  Canton  of  Berne  in  Switzer- 
land.    1821-22.      \T  plates.     Reprinted  \Z2\. 

Designs  of  Household  Furniture  and  Decoration  (Second  Series).  1816-22. 
Reprinted  1823. 

Views  of  Country  Seats  of  the  Royal  Family,  Nobility,  and  Gentry  of 
England.  1823-28.  Zvo.  i^o plates  after  W.  Westall,  T.  H.  Shepherd, 
and  others.,  chiefly  f.  Gendall  and  Frederick  Wilton  Litchfield  Stockdale. 
Reprinted  1828  and  again  in  1830  in  2  vols,  with  1/^6  plates. 

Designs  for  Gothic  Furniture.     27  plates  after  A.  Pugin.     Reprinted  1828. 

Female  Fashions.     Plates  by  f.  S.  Agar. 

British  Fashions.     1803-04. 

POETICAL  MAGAZINE,  1809-11,  containing: — 

First  Tour  of  Doctor  Syntax.  1809-1 1.  Plates  after  Rowlandson.  Text  by 
Combe.     Reprinted  1^12,  1813,  1815,  1817,  1819,  .?/f. 

Second  Tour  of  Doctor  Syntax.  1820.  Plates  after  Rowlandson.  Text  by 
Combe. 

Third  Tour  of  Doctor  Syntax.  1821.  Plates  after  Rowlandson.  Text  by 
Combe.     The  three  republished^  1823,  in  smaller  form. 

English  Dance  of  Death.  181 5- 16.  Plates  after  Rowlandson.  Text  by 
Combe. 

Dance  of  Life.     18 16-17.     Plates  after  Rowlandson.     Text  by  Combe. 

History  and  Life  of  Johnny  Quae  Genus,  the  Little  Foundling.  1822.  Plates 
after  Rowlandson.     Text  by  W.  Combe. 

Military  Adventures  of  Johnny  Newcombe.  1815.  12  plates  after 
Rowlandson. 

Adventures  of  a  Griffin  :  The  History  of  Tom  Raw,  the  East  Indian  Cadet 
1827. 


378  HISTORY  OF  AQUATINT 

Poetical  Sketches  of  Scarborough.  1813.  21  plates  after  James  Green  of 
London.  Signed  text  by  ''J.P."  (/.  B.  Papworth)  and  "  W^  {Rev. 
Francis  IVrangham),  unsigned  by  IV.  Combe. 

History  of  Madeira.     1821.     Tj  plates.     Text  by  W.  Combe. 

Picturesque  and  Descriptive  Tour  in  the  Mountains  of  the  High  Pyrenees. 
1825.     zi,  plates  by  J.  Hardy. 

Microcosm.     1822,     120 plates.     Text  by  W.  H.  Pytu. 

Treatise  on  Rural  Architecture  of  England.     1803.     Text  by  Elsam. 

Ornamental  Gardening.     1800.     zi,  plates.     Text  by  Robertson. 

Hothouses  and  Useful  Gardening.     1798.     2^  plates.     Text  by  Robertson 

Costume  of  the  Netherlands.     1817.     2P  plates. 

Letters  from  Buenos  Ay  res  and  Chili.     18 19.     Text  by  J.  C.  Davie. 

Ghost  Stories.     1823.     d  plates. 

Illustrations  of  the  Palace  at  Brighton.     1826.     Text  by  Nash. 

First  Principles  of  Landscape  Drawing.     1829.     Text  by  G.  Harley. 


APPENDIX  E 


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50     coloured     plates 
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1 

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1804 
1805 
1806 
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1808 

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1808-13 

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(*)  Bardic  Museum  of  Primitive  British 
Literature  and  other  Admirable 
Rarities 

(*)  Lyric  Airs 

(7)  Views  in  Cornwall,  Dorset,  etc. 
(*)  Selection  of  German  Waltzes 
(7)    Sorrows  of  Werther 

(*)  Pleasures    of    Human    Life,    by 
Hilaris  Benevolus  &  Co. 

(7)    All  the  Talents 

(*)  The  Miseries  of  Human  Life 

(A)  Microcosm  of  London,  or  London 
in  Miniature 

(7)  The  Caricature  Magazine,  or  Hudi- 
brastic  Mirror 

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APPENDIX   F 

ENGRAVERS    AND    THE    BOOKS   THEY 
ILLUSTRATED 

THE  LATTER  ARRANGED   IN  CHRONOLOGICAL  ORDER 
ACKERMANN,  R. 

Nelson's  Funeral  Procession. 

Alken,  H. 

Morier.     Illustrations  of  Persia. 

„         Second  Journey  through  Persia. 
Real  Life  in  Ireland. 
Annals  of  Sporting  and  Fancy  Gazette. 
Alken.     Memoirs  of  John  Mytton. 

„  Life  of  a  Sportsman. 

„         Art  and  Practice  of  Etching. 

Alken,  S. 

Wigstead  and  Rowlandson.    Excursion  to  Brighthelmstone. 

Beaumont.     Antiquities  in  South  of  France. 

Darwin.     Botanic  Garden. 

Sotheby.     Tour  through  Wales. 

Views  in  Switzerland. 

Views  in  Westmoreland,  Cumberland,  etc. 

Rogers.    Views  in  Westmoreland  and  Cumberland. 

Maton.     Observations  on  Natural  History. 

Broughton.     Views  in  North  Wales. 

Whitaker.     Deanery  of  Craven. 

Warner.     Tour  through  Cornwall. 

Newell.    Poetical  Works  of  Goldsmith. 

Almucco,  T. 
Hamilton.    Remarks  on  Turkey. 

Apostool,  C. 

Views  in  Westmoreland,  Cumberland,  etc. 
Beaumont.     Antiquities  in  South  of  France. 

„  Travels  through  the  Maritime  Alps. 

Atkinson,  J.  A. 
Atkinson.     Naval  and  Military  Costumes  of  Great  Britain. 
Beresford.     Miseries  of  Human  Life. 
Ireland.     Stultifera  Navis. 
Atkinson.    The  Cutter. 
388 


APPENDIX  F  389 


Atkinson,  J.  A. — continued. 

Broughton.     Costume  of  the  Mahrattas. 
Williamson.     Foreign  Field  Sports. 
Smith.     Antient  Costume  of  Great  Britain. 
Alexander,     Dress  and  Manners  of  the  English. 
Atkinson.     Poet,  Miser,  Virtuoso. 

„  Panoramic  View  of  St  Petersburgh. 

„  Manners  of  the  Russians. 

Bailey,  J. 

Jenkins.    Naval  Achievements. 

Pyne.     Royal  Residences. 

Ralfe.     Naval  Chronology  of  Great  Britain. 

Westall.     Tour  of  River  Thames. 

Bentley.    Tour  of  River  Thames. 

Baxter,  J. 
Broughton.     Costume  of  the  Mahrattas. 

Bennett,  W. 

Combe.     History  of  Oxford. 

„  History  of  Winchester,  Eton,  etc. 

Pyne.    Royal  Residences. 
Ralfe.     Naval  Chronology  of  Great  Britain. 
Naylor.    Coronation  of  George  IV. 

Bentley,  C. 

Westall.  Tour  of  River  Thames. 
Bentley.  Tour  of  River  Thames. 
Johnson.    Historical  Account  of  Antigua. 

Bluck,  J. 

Gessner.     Military  Evolutions. 

Bryant.     Indian  Inks  and  Colours. 

Pyne  and  Combe.     Microcosm  of  London. 

Salt     Views  in  St  Helena,  etc. 

Gell.     Geography  of  Ithaca. 

Drawing  Book  of  Light  and  Shadow. 

Combe.     History  of  Westminster  Abbey. 

Cheltenham. 

Green.     Poetical  Sketches  of  Scarborough. 

Combe.     History  of  Oxford. 

„  History  of  Cambridge. 

„  History  of  Winchester,  Eton,  etc. 

Latrobe.     Visit  to  South  Africa. 
Vidal.    Buenos  Ayres  and  Monte  Video. 

BOYDELL,  J. 

Webber.    Views  in  the  South  Seas 


390  HISTORY  OF  AQUATINT 

'  Bridgens,  R. 

Bridgens.     Costumes;  Italy. 

„  Manners  of  France,  Switzerland,  and  Italy. 

Brighty,  G.  M. 
Shepheard.     Vignette  Designs. 
Blackmantle.     English  Spy. 

Bruce,  J. 
Bruce.    Ten  Views  of  Brighton. 

Burke,  T. 
Thornton.    Temple  of  Flora. 

Caldwell,  J. 
Thornton.    Temple  of  Flora. 

Canton,  C.  J. 
Johnston.    Travels  through  the  Russian  Empire. 

Carr,  Sir  J. 
St  Sauveur.     Travels  through  the  Balearic  Islands. 

Cartwright,  T. 

Heriot.     Travels  through  the  Canadas. 
Johnston.     Travels  through  the  Russian  Empire. 
Pugh.    Cambria  Depicta. 

Catton,  C,  Jun. 
Catton.     Animals  drawn  from  Nature. 

Chamberlaine,  J. 
Engravings  from  A.  A.  and  L.  Caracci. 

Clark,  E. 
Nightingale.    Oceanic  Sketches. 

Clark,  J. 

Loutherbourg.     Romantic  Scenery  of  England  and  Wales. 

Blagdon.     History  of  Nelson. 

Howitt.     Orme's  British  Field  Sports. 

Noble.     Practical  Perspective. 

Williamson.     Foreign  Field  Sports. 

Mackenzie.     Travels  in  Iceland. 

Temple.     Operations  in  the  Persian  Gulf. 

Wathen.     Voyage  to  Madras. 

Simond.     Tour  and  Residence  in  Great  Britain. 

Mornay.     Picture  of  St  Petersburgh. 

James.     Tour  in  Germany,  Sweden,  etc. 

Koster.     Travels  in  Brazil. 

Ellis.     Proceedings  of  the  Embassy  to  China. 

Legh.     Journey  in  Egypt. 

M'Leod.     Voyage  to  the  Yellow  Sea. 

Fellowes.     Visit  to  La  Trappe. 

Orme.    Anecdotes  of  Personal  Valour. 

Butler.     Hudibras. 

Cervantes.     Don  Quixote,  trans,  by  C.  Jarvis. 


APPENDIX  F  391 


Clark,  J. — continued. 

Graham.     Life  of  Poussin. 

„  Three  Months  East  of  Rome. 

Porter.    Travels  in  Georgia,  etc. 
Wathen.    Views  of  St  Helena. 
Campbell.    Travels  in  South  Africa. 
Bakewell.    Travels  in  the  Tarentaise. 
MoUien.    Travels  in  Columbia. 
Bullock.    Travels  in  Mexico. 
Cochrane.     Pedestrian  Journey. 
Benson,     Sketches  of  Corsica. 
Ward.    Mexico  in  1827. 
Frankland.    Travels  to  Constantinople. 
Emerson.    Letters  from  the  Aegean. 

Clark,  J.  H. 

Williamson.    Costumes  of  Modem  India. 

„  European  in  India. 

Military  Costume  of  Turkey. 
Aiken.     National  Sports  of  Great  Britain. 
Clark.     Gilpin's  Day. 

Clarke,  J. 

Serres.    Liber  Nauticus. 

Perry.    Conchology. 

Le  Sage.     Gil  Bias. 

Clarke.    Views  of  Principal  Towns  in  Scotland. 

Sterne.    Works,  with  Life. 

Cleghorn,  J. 
Nash.    Royal  Pavilion  at  Brighton. 

Cockburn. 

Cockbum.    A  Voyage  to  Cadiz  and  Gibraltar. 

Cooper,  R. 

Thornton.    Temple  of  Flora. 

Ralfe.    Naval  Chronology  of  Great  Britain. 

Craig,  W.  M. 
Howitt.    Orme's  Collection  of  British  Field  Sports 

Crowquill,  a. 
Forrester.    Paris  and  Dover. 

Cruikshank,  G. 

Combe.    Life  of  Napoleon. 

Mudford.     Campaign  in  the  Netherlands. 

Carey.     Life  in  Paris. 

Annals  of  Sporting  and  Fancy  Gazette. 

Ireland.     Life  of  Napoleon. 

Cruikshank.     Greenwich  Hospital. 


392  HISTORY  OF  AQUATINT 

Cruikshank,  I.  R.  or  R.  I. 

Cruikshank.     Lessons  of  Thrift. 
Egan.     Sporting  Anecdotes. 
Blackmantle.     English  Spy. 

Cruikshank,  I.  R.  or  R.  I.  and  G. 
Egan.     Life  in  London. 

Cruikshank,  L  R.  or  R.  L,  and  Williams,  C. 
Cruikshank.     My  Cousin  in  the  Army. 

Daniell,  S. 

Daniell.     African  Scenery  and  Animals. 
Blagdon.     Ancient  and  Modern  India. 
Daniell.     Illustrations  of  Ceylon. 
„  Oriental  Scenery. 

Daniell,  T, 
Voyage  to  India. 

Daniell,  W. 
Wood.     Zoography. 
Daniell.    Animated  Nature. 

„         Voyage  to  India. 

„         Views  of  London. 

„         Views  in  Bootan. 

„         Adventures  of  Hunchback. 
Ayton.     Voyage  Round  Great  Britain. 
Daniell.    Views  in  Scotland. 

„         Island  of  Staffa. 

„         Views  of  Windsor,  etc. 

„         Sketches  of  a  Voyager. 

„         Views  of  Paulo  Penang. 

Dawe,  H.  E. 

Johnston.    Travels  through  the  Russian  Empire. 

DODD,  R. 

Blagdon.     Memoirs  of  G.  Morland. 
Falconer.     The  Shipwreck. 

Douglas,  J. 
Douglas.     Nenia  Britannica. 

Dubourg,  M. 

Middleton.     Grecian  Remains  in  Italy. 
Wild.     Cathedral  of  Chester. 

„         Cathedral  of  Lichfield. 
Williamson.     Costumes  of  Modern  India. 

„  European  in  India. 

Mornay.     Picture  of  St  Petersburgh. 
Orme.     Anecdotes  of  Personal  Valour. 
Lugar.     Plans  and  Views. 
Dubourg.     Ancient  Buildings  in  Rome. 
Brayley.     Illustrations  of  H.M.  Palace  at  Brighton. 


APPENDIX  F  393 

Duncan,  E. 

Johnson.     Historical  Account  of  Antigua. 
Aiken.     Memoirs  of  John  Mytton. 
Scott.     Sportsman's  Repository. 

DUNKARTON,   R. 

Thornton.    Temple  of  Flora. 

Earlom,  R. 

Earlom.     Collection  of  Prints  after  Cipriani. 
Thornton.     Temple  of  Flora. 

Edy,  J.  W. 

Views  in  Switzerland. 
Colebrook.     Views  of  Mysore. 
Tooke.     Picturesque  Norway. 

Egerton,  D.  T. 
Quiz.     Fashionable  Bores. 

Elmes. 
Thornton.    Temple  of  Flora. 

Fellowes,  W. 
Smith.    Antiquities  of  Westminster. 

Fielding,  J. 
Bentley.    Tour  of  the  River  Thames. 

Fielding,  N.  S. 
Miles.    Epitome  of  the  Royal  Naval  Service  of  England. 

Fielding,  T.  H,  A. 

Fielding.     Picturesque  Description  of  the  River  Wye. 
Abel.     Journey  in  China. 
Morier.     Illustrations  of  Persia. 

„  Second  Journey  through  Persia. 

Westall.     Victories  of  Duke  of  Wellington. 
Nicholson.     Practice  of  Landscape. 
Northern  Cambrian  Mountains. 
Eraser.     Views  of  Calcutta. 
Walton.     Tour  of  English  Lakes. 
Fielding.     Cumberland,  Westmoreland,  Lancashire. 
„  Excursions  sur  les  Cotes  de  Normandie. 

Hakewill.     Tour  of  Jamaica. 
Barker.     Landscape  Scenery  at  Bath. 
Fielding.     British  Castles. 
Grindlay.     Scenery  of  India. 
Moore.     Burmese  War. 
Fielding.     Views  in  West  Indies. 
Westall.     Tour  of  the  River  Thames. 
Johnson.     Historical  Account  of  Antigua. 
Fielding.     Index  of  Colours. 

„  Theory  of  Painting. 


394  HISTORY  OF  AQUATINT 

FiNDEN,  E.  T. 

Franklin.    Journey  to  Polar  Sea. 
Graham.     Residence  in  Chile. 
Lyall.     Character  of  the  Russians. 

FiNDLAY. 

Wilson.     Paris  Lions. 

Little.     Confessions  of  an  Oxonian. 

Francia,  L. 
Francia.     Imitations  of  Landscapes  by  Gainsborough. 

Fry,  W.  T. 
Orme.    Anecdotes  of  Personal  Valour. 

Gardnor,  Rev.  J. 
Williams.     History  of  Monmouthshire. 

Gaugain,  T. 
Thornton.    Temple  of  Flora. 

Gillray,  J. 
Gillray.    Genuine  Works. 

Gilpin,  W. 

Gilpin.  Observations  on  W^ye  and  South  Wales. 

„  „  Cumberland  and  Westmoreland. 

„  „  Highlands  of  Scotland. 

„  Three  Essays  on  Picturesque  Scenery,  etc 

„  Remarks  on  Forest  Scenery. 

„  Observations  on  England. 

„  „  Hampshire,  etc. 

„  „  Cambridge,  etc 

„  Nature. 

Gleadah,  J. 

Johnston.     Travels  through  the  Russian  Empire. 
Varley.     Principles  of  Landscape  Design. 

„         Precepts  for  Design  in  Landscape. 
Cruikshank.    Wits'  Album. 

Godby,  J. 
Howitt.    Orme's  Collection  of  British  Field  Sports. 

Green,  W. 
Wood.     Noblemen's  Seats. 
Green.     Tourist's  Guide  to  the  Lakes. 

Hall,  J. 
Smith.     Antiquities  of  Westminster. 

Hamble,  J. 
Serres.     Liber  Nauticus. 
Blagdon.     History  of  Nelson. 
Clark.     Essay  on  Landscapes  in  Water- Colours. 
Combe.     History  of  Westminster  Abbey. 


APPENDIX  F  395 


Hardie. 

Repton.     Sketches  on  Landscape  Gardening. 
Lugar.     Architectural  Sketches. 

Hardy,  J. 
Hardy.     Tour  in  the  Pyrenees. 

Harraden,  R.  B. 

Girtin.     Picturesque  Views  in  Paris. 

Serres.     Liber  Nauticus. 

Bryant.     Treatise  on  Indian  Ink. 

Pyne  and  Combe.     Microcosm  of  London. 

Hassell,  J. 

Hassell.     Tour  of  Isle  of  Wight. 

„  Picturesque  Guide  to  Bath. 

Gold.     Oriental  Drawings. 
Hassell.     Memoirs  of  Morland. 

„  Beauties  of  Antiquity. 

„  Aqua  Pictura. 

Jenkins.     Martial  Achievements. 
Hassell.     Picturesque  Walks  and  Rides. 

„        *  The  Speculum. 

„  Tour  of  the  Grand  Junction. 

„  The  Camera. 

„  Excursions  of  Pleasure. 

Havell. 

Roberts.     Cambrian  Popular  Antiquities. 

Battle  of  Algiers. 

Hall.     Voyage  to  Corea. 

Stothard.     Tour  through  Normandy. 

Fraser.     Journal  of  a  Tour  through  the  Himalayas. 

West.     Guide  to  the  Lakes. 

Havell.     Devon  Views. 

Havell,  D. 

Salt.     Views  in  St  Helena. 

Combe.     History  of  Oxford. 

Smith.     Antient  Costume  of  Great  Britain. 

Meyrick.     Costume  of  British  Isles. 

Walker.     Costume  of  Yorkshire. 

Combe.     History  of  Cambridge.  / 

„  History  of  Eton,  etc. 

Roche.     Sketches  in  Flanders. 
Hassell.     Picturesque  Rides. 
Pyne.     Royal  Residences. 
Richardson.     Architectural  Antiquities. 
Northern  Cambrian  Mountains. 
Ralfe.     Naval  Chronology. 
Vidal.     Buenos  Ayres. 
Sauvan.     Tour  of  the  Seine. 
Brayley.     Theatres  of  London. 

2  B 


596  HISTORY  OF  AQUATINT 

Havell,  R,,  Sen. 

Salt.    Views  in  St  Helena. 

Meyrick.     Costume  of  British  Isles. 

Smith.     Antient  Costume  of  Great  Britain. 

Walker.     Costume  of  Yorkshire. 

Bellasis.     Views  of  St  Helena. 

Cell.     Views  in  Barbary. 

Peake.     Characteristic  Costume. 

Gerning.     Picturesque  Tour  on  the  Rhine 

Naylor.     Coronation  of  George  I V.  ' 

Fraser.     Views  of  Calcutta.  ^  *"^'     '" - 

Audubon.     Birds  of  America. 
/  Welsh.     Military  Reminiscences. 

'  Bury.     Hexandrian  Plants. 

Barron.     Views  in  India. 

Havell,  R.,  Jun. 
Brayley.     H.M.  Palace  at  Brighton. 

Havell  and  Son. 

TuUy.     Ten  Years  at  Tripoli. 
Fitzclarence.     Route  across  India. 
Ross.     Voyage  to  Baffin's  Bay. 
Havell.     Views  of  London. 

„         Views  of  Noblemen's  Seats. 
Rutter.     Fonthill. 

Havell,  W. 
Havell.     Views  of  the  Thames. 

Hawkins,  G. 
Varley.     Precepts  for  Designs  in  Landscape. 

Heath,  C. 
Westall.    Victories  of  Duke  of  Wellington. 

Heath,  W. 

Combe.     Wars  of  Wellington. 
Egan.     Real  Life  in  London. 
„         Real  Life  in  Ireland. 
Heath.     Life  of  a  Soldier. 

„         Costume  of  British  Cavalry. 

Heidelhoff,  N. 

Heidelhoff.     Gallery  of  Fashion. 
Eben.     Swedish  Army. 

Hill. 

Wigstead.    Tour  to  North  and  South  Wales. 

„  Party  of  Pleasure  to  Paris. 

Dibdin.     Tour  through  England. 
Nelson's  Funeral  Procession. 
Pyne  and  Combe.     Microcosm. 


APPENDIX  F  397 

Hill,  J. 

Williams.     History  of  Monmouthshire. 
Angel o.     Hungarian  Highland  Broadsword. 
Nattes.    Views  in  Bath. 

„  Views  of  Versailles. 

Salt     Views  in  St  Helena. 
Smith.     Antient  Costume  of  Great  Britain. 
Combe.     History  of  Oxford. 

„         History  of  Cambridge. 
Johnston.     Travels  through  Russian  Empire. 
Roche.     Sketches  in  Flanders. 

Hill,  R. 
Roche.    Sketches  in  Flanders. 

Hodges,  W. 
Hodges.    Select  Views  in  India. 

Hopwood. 
Thornton.    Temple  of  Flora. 

HowiTT,  S. 

Williamson.     Oriental  Field  Sports. 
„  Foreign  Field  Sports. 

Hughes,  S.  G. 
Bury.     Views  on  Liverpool  and  Manchester  Railway. 

Hunt,  G. 

Pyne.    Social  Club. 

Davenport.     Life  of  Ali  Pacha. 

Forrest.     Picturesque  Tour  along  the  Ganges. 

Egerton  ["  M.  E."]     Humorous  Designs. 

„  Airy  Nothings. 

„  CoUinso  Furioso. 

„  Here,  There,  and  Over  the  Water. 

Moore.    Burmese  War. 
Grindlay.     Scenery  of  India. 
Sickelmore.     Descriptive  View  of  Brighton. 

Hunter,  Lieut. 
Blagdon.    Ancient  and  Modem  India. 

Ibbetson,  J.  C. 
History  of  Richmond. 


398  HISTORY  OF  AQUATINT 

Ireland,  S. 

Ireland.     Picturesque  Tour  through  Holland. 

„  Picturesque  Views  on  the  River  Thames. 

„  Picturesque  Views  on  the  River  Medway. 

„  Graphic  Illustrations  of  Hogarth. 

„  Picturesque  Views  on  the  River  Avon. 

„  Oxfordshire. 

„  Inns  of  Court. 

JEAKES,  J. 

Spilsbury.     Scenery  in  the  Holy  Land. 
Wilkins.     Antiquities  of  Magna  Graecia. 
Middleton.     Grecian  Remains  in  Italy. 

Jones,  T. 
London.     Singei-'s  Magazine. 

Josi,  C.  ' 
Collection  d' Imitations  de  Desseins. 

Jukes,  F. 
Plaw.     Rural  Architecture. 

Kearnan,  T. 
Nash.     Royal  Pavilion  at  Brighton. 

Landseer,  T. 

Rabelais.     Abeillard  and  Heloisa. 
Thornton.     Temple  of  Flora. 

Lane,  T. 

Egan.     Life  of  an  Actor. 

„         Anecdotes  of  the  Turf,  etc. 

Le  Keux,  T. 
Nash.     Royal  Pavilion  at  Brighton. 

Lewis,  F.  C. 

Sterne.     Tristram  Shandy. 

Girtin.     Picturesque  Views  in  Paris. 

Nattes.     Oxford  Delineated. 

Nash.     Views  of  Windsor. 

Nelson's  Funeral  Procession. 

Heriot.     Travels  through  the  Canadas. 

Thornton.     Temple  of  Flora. 

Smith.     Antiquities  of  Westminster. 

Combe.     History  of  Westminster  Abbey. 

„  History  of  Oxford. 

Johnston.     Travels  through  the  Russian  Empire. 
Varley.     Principles  of  Landscape  Design. 

„  Precepts  for  Landscape  Design. 

Eraser.  Views  of  Calcutta. 
Ralfe.  Naval  Chronology. 
Lewis.    Picturesque  Scenery  of  the  River  Dart» 


APPENDIX  F  399 


Lewis,  F.  C. — continued. 

Naylor.     Coronation  of  George  IV. 
Heriot.     Tour  through  Pyrenean  Mountains. 
Hughes.    Travels  in  Greece. 
Lorraine.    The  Museum  Claudes. 
Brayley.     H.M.  Palace  at  Brighton. 

Lewis,  G.  R. 

Combe.     History  of  Westminster  Abbey. 

„  History  of  Oxford. 

Varley.     Principles  of  Landscape  Design. 
Rabelais.     Abeillard  and  Eloisa. 

Mackenzie,  F. 
Whitaker.    Abbeys  and  Castles. 

Maddox,  T. 
Thornton.     Temple  of  Flora. 

Maile,  G. 
Vidal.     Buenos  Ayres. 

Malton,  J. 

Malton.  Picturesque  View  of  Dublin. 

„  Young  Painter's  Maulstick. 

„  Designs  for  Villas. 

„  British  Cottage  Architecture. 

Malton,  T. 

Malton.    Picturesque  Tour  through  London. 
„  Geometry. 

„  Views  of  Oxford. 

Manskirsch,  J.  F. 

Manskirsch.     Ackermann's  New  Drawing  Book. 

„  Coloured  Views  of  Parks  and  Gardens. 

Williamson.     Foreign  Field  Sports. 

Marks. 
Real  Life  in  Ireland. 

Medland,  T. 

Carr.     Stranger  in  France. 
Barrow.     Travels  in  China. 
Gell.     Topography  of  Troy. 
Thornhill.     Shooting  Directory. 
Carr.     Northern  Summer. 

„        Stranger  in  Ireland. 
Gold.     Oriental  Drawings. 
Barrow.     Travels  in  South  Africa. 
„  Voyage  to  Cochin  China. 

Wilkins.     Antiquities  of  Magna  Grsecia. 
Thornton.     Temple  of  Flora. 


4CX)  HISTORY  OF  AQUATINT 


Merigot,  J. 

Views  in  Switzerland. 

Stoddart.     Scenery  and  Manners. 

Nattes.     Oxford  Delineated. 

Nelson's  Funeral  Procession. 

Thornton.     Sporting  Tour  through  France. 

Smith.     Antient  Costume  of  Great  Britain. 

Merke,  H. 

Spilsbury.     Scenery  in  the  Holy  Land. 
Blagdon.     History  of  Lord  Nelson. 
Howitt.     British  Field  Sports. 
Cheltenham. 

Milton,  T. 
Mayer.    Views  in  Egypt. 

Moore,  C. 
Nash.     Royal  Pavilion  at  Brighton. 

Morton,  H. 
Morton.    Views  of  Hastings. 

Moses,  H. 
Broughton.     Costume  of  the  Mahrattas. 

Nash,  F. 
Nash.    Views  of  Windsor. 


Neale,  J.  P. 

Walsh.     Campaign  in  Egypt. 
Forbin.     Travels  in  Greece. 


Neele. 

Walsh.     Campaign  in  Egypt. 
Forbin.    Travels  in  Greece. 

Parkyns,  G.  J. 

Parkyns.     Monastic  Remains. 

„  Monastic  and  Baronial  Remains. 

Peake,  R.  B. 
Peake.     Characteristic  Costume  of  France. 

Pickett. 

Loutherbourg.     Scenery  of  Great  Britain. 
Girtin.     Picturesque  Views  in  Paris. 
Blagdon.     History  of  Lord  Nelson. 


APPENDIX  F  401 


Platt. 
Sterne.    Tristram  Shandy. 

Prout,  S. 

Prout.     Rudiments  of  Landscape. 

„         Easy  Lessons  in  Landscape  Drawing. 

PUGH,  E. 
Wigstead.    Tour  to  North  and  South  Wales. 

PUGIN,  A.  C. 
Pyne  and  Combe.    Microcosm  of  London. 

Pyall,  H. 
Moore.    Burmese  War. 
Bury.     Views  on  Liverpool  and  Manchester  Railway. 

Pyne,  W.  H. 

Pyne.  Groups  of  Figures. 

„  Microcosm. 

„  Costume  of  Great  Britain. 

„  Rudiments  of  Landscape  Drawing. 

QUILLEY,  J,  P. 
Thornton.    Temple  of  Flora. 

Rawlins,  T.  J. 
Aiken.     Memoirs  of  John  Mytton. 

Read,  W. 

Burton.     Adventures  of  Johnny  Newcome. 

Caillard.     Travels  in  Thebes. 

Dr  Prosody  in  Search  of  the  Antique. 

Heriot.     Tour  through  the  Pyrenean  Mountains. 

Reeve,  R.  G. 

Combe.     History  of  Oxford. 

Cox.     Treatise  on  Landscape  Painting. 

Pyne.     History  of  the  Royal  Residences. 

Grindlay.     Scenery  on  Western  Side  of  India. 

Westall.    Tour  of  the  Thames. 

Bentley.     Tour  of  the  Thames. 

Johnson.     Historical  Account  of  Antigua. 

Welsh.     Military  Reminiscences. 

Phillips.     Treatise  on  Drawing. 

Reinhardt,  J.  C. 
Reinhardt.    Swiss  Costumes. 


402  HISTORY  OF  AQUATINT 

Richardson,  G. 

Richardson.     Chimney  Pieces. 

„  Five  Orders  of  Architecture. 

„  New  Designs  in  Architecture. 

„  Capitals  of  Columns. 

yj  Designs  for  Country  Seats. 

„  New  Vitruvius  Britannicus. 

„  New  Designs  of  Vases. 

„  Ornaments  in  Antique  Style. 

Richardson,  T.  M. 
Richardson.    Architectural  Antiquities  of  Northumberland. 

Roberts,  P. 
Sterne.     Sentimental  Journey. 

ROFFE,  J. 
Thornton.     Temple  of  Flora. 

ROOKE,  H. 
Douglas.     Nenia  Britannica. 

Rosenberg,  M. 
Deam.     Sketches  in  Architecture. 

Rouse,  J. 
Mudford.     Campaign  in  the  Netherlands. 

ROWLANDSON,  T.     (See  Appendix  E.) 

Sandby,  p. 

Sandby.     Twelve  Views  in  S.  Wales. 
„  Twelve  Views  in  N.  Wales. 

Sanson,  Jun. 
Cell.     Itinerary  of  Greece. 

Sayer,  J. 
Foundling-Chapel  Brawl. 

Segard. 
Rosenberg.     Views  in  Paris. 

Shury,  T. 
Accum.     Guide  to  Chalybeate  Spring  of  Thetford. 

Smart. 

Cox.     Views  of  Bath. 
Pyne.     Social  Club. 


APPENDIX  F  403 

Stabler,  J.  C. 

Dallaway,     Constantinople. 

Sterne.     Sentimental  Journey. 

Loutherbourg.     Scenery  of  Great  Britain. 

Willyams.     Voyage  up  the  Mediterranean. 

Girtin.     Views  in  Paris. 

Serres.     Liber  Nauticus. 

Repton.     Odd  Whims. 

Heriot.     Travels  through  the  Canadas. 

Thornton.     Temple  of  Flora. 

Repton.     Designs  for  Pavilion  at  Brighton. 

Eckstein.     Views  of  the  Diamond  Rock. 

Sauvan.     Travels  through  the  Balearic  Islands. 

Pyne  and  Combe.     Microcosm  of  London, 

Jackson.    Account  of  Suse. 

Rowlandson.     Sketches  from  Nature. 

Porter.     Travelling  Sketches  in  Russia. 

Smith.     Tour  to  Hafod. 

Green.     Sketches  of  Scarborough. 

Hawker.     Instructions  to  Young  Sportsman. 

Combe.     History  of  Oxford. 

„  History  of  Cambridge. 

Berry.     History  of  Guernsey. 
Smith.     Costume  of  Army  of  British  Empire. 
Combe  and  Pyne.     History  of  Winchester,  Eton,  etc, 
Roche.     Sketches  in  Flanders, 
Latrobe.     Visit  to  S.  Africa. 
Landmann.     Observations  on  Portugal. 
Spilsbury.     Scenery  in  the  Holy  Land. 
Combe.     Wars  of  Wellington. 
Schoberl.     Illustrations  of  Japan. 
Willyams.     Views  in  Egypt. 

Stoker,  W. 
Forbes.     Oriental  Memoirs. 

*  Stothard,  C.  a. 

Stothard.    Tour  through  Normandy. 

Sutherland,  T. 

Pyne  and  Combe.     Microcosm  of  London. 

Drawing  Book  of  Light  and  Shadow. 

Combe.     History  of  St  Peter's,  Westminster. 

Jenkins.     Martial  Achievements. 

Pocock.     Views  of  St  Helena. 

Jenkins.     Naval  Achievements. 

Orme.    Anecdotes  of  Personal  Valour. 

Richardson.     Architectural  Antiquities  of  Northumberland. 

Pyne.     History  of  the  Royal  Residences, 

Nash.     Royal  Pavilion  at  Brighton. 

Gerning.    Tour  along  the  Rhine. 

Cox.     Views  of  Bath. 

Vidal.     Buenos  Ayres  and  Monte  Video. 


404  HISTORY  OF  AQUATINT 

Sutherland,  T. — continued. 

Ralfe.    Naval  Chronology  of  Great  Britain. 

Sauvan,     Tour  of  the  Seine. 

Hakewill.     Tour  of  Jamaica. 

Cox.     Young  Artist's  Companion. 

Forrest.     Tour  along  the  Ganges  and  Jumna. 

Brayley.     Illustrations  for  H.M.  Palace  at  Brighton. 

Testard,  F.  M. 
Rosenberg.    Views  in  Paris. 

Testolini,  G. 
Testolini.    Rudiments  of  Drawing  Flowers. 

Timms. 
Timms.    Twelve  Views  of  Reading. 

Tingle,  J. 
Nash.     Royal  Pavilion  at  Brighton. 

TOMKINS,  C. 

Tomkins.     Views  of  Reading  Abbey. 
„  Tour  to  the  Isle  of  Wight. 

„  The  British  Volunteer. 

Tomkins,  P.  W. 
Gall.    Geography  of  Ithaca, 

Turner,  C. 

St  Clair.    Views  of  the  Campaigns  in  Spain. 
Frankland.     Shooting. 
Haygarth.     Greece. 
Maitland.     Fishing. 
„  Hunting. 

Jones.    Waterloo. 
Brown.    Scottish  Views. 
Jones.     Coursing. 
Blake.     Poacher's  Progress. 

Vivares,  T. 

Howitt.     British  Field  Sports. 
Spilsbury.    Scenery  in  the  Holy  Land. 

Ward,  Col. 
Blagdon.    Ancient  and  Modern  India. 

Ward,  W. 
Blagdon.    Ancient  and  Modem  India.  ^ 

Thornton.    Temple  of  Flora. 

Warner. 
Thornton.    Temple  of  Flora. 


APPENDIX  F  405 


Watts,  W. 
Mayer.    Views  in  Turkey. 

Weiber,  G. 
Weiber.    Panoramic  View  of  the  Alps. 

Wells,  J.  G. 
Allan.    Views  in  the  Mysore  Country. 

Westall,  W. 

Westall.  Caves  near  Ingleton. 

„  Lake  and  Vale  of  Keswick, 

„  Lakes  of  Cumberland  and  Westmoreland. 

Whitaker.     Abbeys  and  Castles  of  Yorkshire. 

Westall.  Views  of  Raglan  Castle. 
Estcourt,     Views  in  the  Alhambra. 

Westall.  Views  of  Fountains  Abbey. 

Wild,  C. 

Wild.  Views  of  Canterbury. 

„  Cathedral  of  Lichfield. 

„  Cathedral  of  Chester. 

„  Ecclesiastical  Architecture  in  France. 

„  Ecclesiastical  Architecture  in  England. 

Williams,  C. 

Johnston.     Travels  through  the  Russian  Empire. 
Cruikshank.     My  Cousin  in  the  Army. 

Woodman,  R. 
Frankland.     Shooting. 

WOOLNOTH,  T. 
Thornton.    Temple  of  Flora. 

Wright,  J.  H. 

Gell.     Geography  of  Ithaca. 
„        Itinerary  of  Greece. 

Zeigler,  C. 
Gessner.    Military  Evolutions. 


APPENDIX  G 
LIST  OF  AUTHORITIES 

Alien  {F.  von).     Ploos  von  Amstel,  eine  Studie.     (Archiv  fur  die  Zeich- 

nenden  Kiinste,  x.  i.)     Leipzig,  1864. 
Angela  {H.).     Reminiscences.     2  vols.  8vo.     1830. 
Binyon  (L.).     Thomas  Girtin,  his  Life  and  Works.     Large  4to.     1900. 

Bode  (IV.).     Hercules  Seghers.     (Jahrbuch  der  Koniglichen  Preussischen 
Kunstsammlungen.)    4to.     xxiv.,  179. 

Bmichot  {H.).    P.  L.  Debucourt  (Les  Artistes  Cdl^bres).     8vo.     [1886,  etc.] 

Bryan  (M.).    Dictionary  of  Painters  and  Engravers.    Ed.  R.  E.  Graves  and 

W.  Armstrong.     1886-89  and  1898. 
Colburn  (//.).     Biographical  Dictionary  of  Living  Authors.     8vo.     1816. 
Delaborde  {H..).     La  Gravure     Paris  [1882].     (Eng.  trans.,  1886.) 
Dictionary  of  National  Biography. 
Dobson  {A^.     Hogarth.    8vo.     1907. 
Douglas  {Copt.).     Works  of  G.  Cruikshank.     4to.     1903. 
Edwards  {E.).     Anecdotes  of  Painters.     4to,     1808. 
F^naille  {M.).     L'ceuvre  gravd  de  P.  L.  Debucourt.    8vo.    Paris,  1899. 
Fielding  {T.  H.).    Art  of  Engraving.     London,  1841  (and  1844). 
Gilchrist  {A.).     Life  of  Blake.     2  vols.  8vo.     1883. 

Goncourt  {E.  and/,  de).    L'art  du  XVIIIieme  Si^cle.    Paris,  1873-74 (3i^me 

ed.,  1880-82). 
Graves  {A.).     A  Dictionary  of  Artists.     1895. 
Grego  (/.).     Rowlandson  the  Caricaturist.     2  vols.  4to.     1880. 
Hamerton  {P.  G.).     The  Graphic  Arts.     4to.     1882. 
Hardie  (M.).     English  Illustrated  Books.     Large  8vo.     1906. 
Hedou  (/.).    Jean  Le  Prince  et  son  CEuvre.     8vo.     Paris,  1879. 

Hind  (A.  M.).     A  Short  History  of  Engraving  and  Etching.     Large  8vo. 

1908. 
Le  Blanche.).     Manuel  de  1' Amateur  d'Estampes.     4  vols.     1854. 

Lewine  {/.).      Bibliography   of  Eighteenth    Century  Art  and   Illustrated 
Books.     Large  8vo.     1898, 

Lippmann  (/^).     Der    Kupferstich    (trans,    by    M.    Hardie,    1907).      8vo. 

Berlin,  1893. 
Loga  ( V.  von).    Goya's  Lithographien  u.  seltene  Radierungen.     Large  4to. 

Berlin,  1907. 
Meyer    (J.)     Kiinstlerlexicon.     (Incomplete,  A-BEZ.)     3  vols.      Leipzig, 

1872-85. 
406 


APPENDIX  G  407 

Millar  {T.).    Girton  and  Turner's  Picturesque  Views.     8vo.     1854. 
Monkkouse  (C).     The  Earlier  English  Water  Colour  Painters.     8vo.     1897. 
Miiller  {H.  A.)  u.  Singer  {H.  IV.).     AUgemeines  Kiinstler-Lexicon.     4  vols. 

1895. 
Nagler   (G.  K.).      AUgemeines    Kiinstler-Lexicon.      22    vols.       Munich, 

1835-52. 

Portalis  (7?.).     Les  Dessinateurs  d'lllustration  au  XVIIIi^me  Si^cle.     8vo. 
Paris,  1877. 

Portalis  {R.)  and  Beraldi  (//.).     Les  Graveurs  du  XVIIIi^me  Siecle.     3 
vols.  8vo.     Paris,  1880-82. 

Portalis  {Baron  R.  de).     La  Gravure  en  Couleur.     5  papers  in  Gazette  des 
Beaux  Arts.     1888-89. 

Pyne  (W.  H.).     Somerset  House  Gazette.     2  vols.  4to.     1824. 

Rawlinson  {W.  G.).     Liber  Studiorum.     8vo.     1906. 

Raivlinson  {W.  G.).     The  Engraved  Work  of  Turner.     8vo.     1908. 

Redgrave  (R.  and  S.).    A  Century  of  Painters  of  the  English  School.     2 
vols.  8vo.     1866. 

Redgrave  (S.).     Dictionary  of  Artists  of  the  English  School.     8vo.  1874. 

Redgrave  (S.).     Descriptive   Catalogue  of  Water  Colour   Paintings  in  the 
South  Kensington  Museum.     Large  8vo.     1877. 

Reiwuvier  (/.).     L'histoire   de  I'art  pendant  la  Revolution.      8vo.     Paris, 
1862. 

Roget  {/.  L.).     History  of  the  Old  Water  Colour  Society.     2  vols.     Large 
8vo.     1891. 

Sandby  (W.).     Thomas  and  Paul  Sandby.     8vo.     1892. 

Short  {F.).     The  Making  of  Etchings.     London,  1888. 

Singer  {H.   IV.).     J.  C.  Le  Blon.     (Die  Graphischen  Kiinste.)     Vienna, 

1901. 
Singer  (N.  W.).    J.  C.  Le  Blon.     {Studio,  May  1903.)     1903. 

Singer  {H.  IV.)  and  Strang  { IV.).      Etching  and  Engraving  and  the  other 
Methods  of  Printing  Pictures.     8vo.     1897. 

Slater  {J.  H.).     Illustrated  Sporting  Books.     8vo.     1899. 

Slater  {J.  H.).     Engravings  and  their  Values.     Small  8vo.     1900. 

Smith  (/.  T.).    A  Book  for  a  Rainy  Day.     Ed.  W,  Whitten.     8vo.     1905. 

Smith  (/.  T.).     Nollekens  and  his  Times.     8vo.     1895. 

Thackeray  { W.  M.).     The  Four  Georges. 

The  Gentleman's  Magazine. 

Tuer{A.W.).     Bartolozzi  and  his  Works.     Sm.  8vo.     1885. 

Universal   Catalogue   of  Books   on   Art.      (South  Kensington   Museum.) 
2  vols.  4to.     1870.     Supplement,  1877. 

Whitman  {A^.     Charles  Turner.     Fol.     1907. 

Whitman  {A.).     Print  Collector's  Handbook.    8vo.    1901.     3rd  ed.  1903. 

Wright  {T.).     History  of  Caricature  and  Grotesque.     8vo.     1865. 

Yriarte{C.).     Goya.    4to.     Paris,  1867. 


INDEX 


The  Abbeys  and  Castles  of  Yorkshire, 

151. 
Abbot,  Charles,  250. 
Abbotsford,  251. 
Abbott,  Henry,  325. 
Abel,  Dr  Clarke,  265,  325. 
Abyssinia,  234,  235. 
The  Academy  in  St  Martitis  Lane, 

III. 
Account  of  a  Voyage . .  .  to'Corea,  251. 
Account  of  a  Voyage  to  the  Western 

Coast  of  Africa,  240. 
An  Account  of  the  Campaign  in  the 

West  Indies  in  1794,  223. 
Account  of  the  Empire  and  District  of 

Suse,  242. 
Accum,  F.,  325. 

Ackermann,  Rudolph,  i,  9,  no,  189, 
204,  205,  216,  225,  248, 
268, 269,  272,  273,  275, 

309,  317,  358. 
„  Rudolph,   his  life   and 

work,  no  et  seq. 
Adams,  brothers,  232. 
Addiscombe    Military   College,    196, 

276. 
Addison,  Joseph,  167,  298. 
Adelphi  Terrace,  201. 
The  Adventures  of  fohnny  Newcome 

in  the  Navy,  304. 
Africa,  237,  238,  239,  293. 
African  Company,  the,  238. 
African  Scenery  and  Animals,  245. 
Afternoon,  211. 
d'Agoty,  Jacques  Fabien  Gautier,  36, 

,  37,  38. 
„       Edouard,  39. 
„       Louis  C,  39. 
„       Arnaud  E.,  39. 
Albania,  234. 
Albano,  177. 

Alexander  I.  of  Russia,  226. 
„  Captn.  James,  325. 

„         William,  85,  250,  316,317, 
325. 


"Alfred   Crowquill"= Alfred    Henry 

Forrester. 
Algarotti,  Count,  on  English  gardens, 

169, 
AH  Pacha  of  Janina,  325. 
Alix,  Pierre  Michel,  23,  70,  71. 
Aiken,  Henry,  281,  309,  326,  358. 

„      Samuel,  358, 
AUais,  Louis  Jean,  72. 
Allan,  Captain,  326. 

„      David,  100,  103,  109. 
LAllegra,  109. 
UAlmanach  national,  66. 
Almucco,  T,,  358. 
d'Alvemart,  Octavian,  317. 
The  Amateur's  Assistant,  189. 
The  Amateur's  Portfolio,  207,  297. 
"  Amenity  Repton"  {v.  Repton,  Hum- 
phrey). 
Amherst,  Lord,  85,  251,  264. 
Amsterdam,  26,  29,  32,  1%  47,  48,  50, 

51,  52,231. 
Amulet  and  other  annuals,  118. 
Amyot,  Thomas,  134,  135. 
Analysis  of  Beauty,  loi. 
anatomical  figures  in  colour-printing, 

38. 
Anecdotes  of  the  Turf,  the  Chase,  the 

Ring,  and  the  Stage,  308. 
Angelo,  Henry,  138,  326. 
Anglophile  tendencies  in  France,  216. 
animals  illus.  in  aquatint,  282,  292. 
Animals  drawn  from  nature,  289. 
Anjengo,  India,  293. 
Anne,  Queen,  166,  167. 
Annuals,  ri8,  127. 
Anstey,  Christopher,  193. 
Antigua,  255. 

The  Antiquary  quoted,  225. 
Antiquities  of  Britain,  89, 
„  of  Dacca,  308. 

„  of  Magna  Grcecia,  232. 

Apostool,  Cornelius,  231,  358. 
Appsley,  C.  J.,  326. 
Aquapictura,  21 1. 

409 


4IO 


HISTORY  OF  AQUATINT 


aquatint  engraving,  definition    of,    v, 
vi. 

„  „      example  of  a  set  of 

proofs,  in  ten  dif- 
ferent stages,  63. 

„  „      foundation  of  Baxter 

prints,  58. 

„  „      how  to  distinguish, 

6-8. 

„  „      in  combination  with 

etching,  73. 

„  »      in  ornamental  bor- 

ders, 233. 

„  „       its   invention,  40, 

„  „       in  France,  59  etseq. 

„  „      its  connection  with 

water-colour 
painting,  17,  81 
et  seq.,  102,  183. 

„  „      process  of,  II  (f/ji?^. 

„  „      proposed  for  Liber 

Arbuthnot,  Dr  John,  298. 
Architectural  Antiquities    of  Great 

Britain,  150,  151. 
architecture  illustrated  in  aquatint,  25. 
Argyll  Rooms,  311. 
Armenia,  241. 
Arnold,  J.,  loi. 
art  library  opened  by  Ackermann, 

114,  115. 
The  Art  of  Drawing  and  Painting 

in  Water  Colours,  31. 
The  Art  of  Engraving,  12. 
Art  of  Etching,  272. 
The  Art  of  Painting  in  Oyl,  31. 
IJArt  d'impritner  les  tableaux,  34. 
artists,  sent  out  with  explorers,  84,  85. 
artists'  materials,  improvement,  192. 
Ashantee,  238. 
Aspin,  J.,  14,  326. 
Associated  Artists  in  Water  Colours, 

150. 
Athens,  aquatints  by  Sandby,  109. 
Atkinson,  James,  326. 

„         John  Augustus,   224,  283, 
316,  318,  319,   321,  326, 

358. 
Atkyns,  Sir  R.,  Gloucestershire,  175. 
Attiret,  pere,  on  Chinese  gardens,  170 
d'Auberoche,  Chappe,  44. 
Audubon, 'J.  J.,  naturalist,  14,  296, 326. 
Austen,  Jane,  225,  300. 
Australia,  254. 
Austria,  317. 


Authentic  Memoirs  of  George  Mor- 

land,  221,  222. 
L'aveu  difficile,  61. 
Avon  river,  271. 
Aylsham,  Norfolk,  154. 
Ayton,  Richard,  279,  326. 

Bacon,  Lord,quoted,  1 58, 160, 162, 169. 

Baflfin's  Bay,  255. 

Bagdad,  227. 

Baice,  aquatints  by  Sandby,  108. 

Bailey,  John,  142,  269,  358. 

Bakewell,  Robert,  327. 

Baldung,  Hans,  26. 

Balin,  — ,  painter,  45. 

Baltic,  229. 

Banks,  Sir  Joseph,  84, 98, 100, 256, 294. 

Bannister,  John,  comedian,  139, 

Un  Bapteme  Russe,  44. 

Barker,  B.,  327. 

Barras,  Paul  F.  de,  71. 

Barret,  George,  79,  88,  189,  198,  231. 

Barron,  Richard,  249,  327. 

Barrow,  Sir  John,  244,  249,  327. 

„        Dr,  school  in  Soho  Sq.,  136. 
du  ^ Barry,  Madame,  colour  print  by 

E.  d'Agoty,  39. 
Bartolozzi,  Francesco,  23,  51,  54,  56, 

254,291. 
Bath,  193,  195,  271,  312. 
Baxter,    —    British    Consul    at     St 

Petersburg,  87. 
Baxter,  George,  58,  358. 
Bayswater  Fields,  304. 
Beatson,  Alexander,  237,  327. 
Beaufort,  Henry,  Duke  of,  112. 
de  Beaumont,  A.,  231,  327. 
Beaumont,  Sir  George,  92. 
Beauties  of  the  Dutch  School,  231. 
Beauties  of  England    and    IVa/es, 

150,  151,  203. 
Bechuanaland,  244. 
Beckford,  William,  86. 
Bedford,  Duke  of,  93. 
Beechey,  Sir  W.,  291. 
Bellasis,  George  H.,  236,  327. 
de  Belle  Isle,  Marechal,  43. 
Belfs  Life,  307,  308. 
La  belle  AsseinbUe,  316. 
Belzoni,  Giovann   Battista,  235. 
"  Ben  Tallyho  "  =  Henry  Aiken. 
Bengal,  282. 

Bennett,  Wm.  James,  358. 
Benson,  Robert,  230,  327. 
Bentley,  Charles,  269,  327. 


INDEX 


411 


Bentley,  — ,  87,  88. 

Beraldi,  H.,  -jt. 

Beresford,  James,  319,  327. 

Berry,  William,  327. 
„      ducde,.7i. 

Bertin,  Mile.,  60. 

Bibliographia  Britannica,  236. 

Bibliographical    account    of    .     .     . 
English  Topography^  3. 

Bibliography  of  Eighteenth  Century 
Art  and  Illustrated  Books,  140. 

Biblioth^que  Nationale,  37,  39. 

Binyon,  Lawrence,  quoted,  93. 

Biographical   Dictionary  of  Living 
Authors,  290  n. 

bird's-eye  views  ;  illustrations  of  gar- 
dens and  houses,  106,  160,  161. 

birds  illus.  in  aquatint,  292,  296. 

Birds  of  America,  14,  296. 

Black,  J.,  337. 

Blackheath,  aquatints  by  Sandby,  109 

"  Blackmantle,  Bernard  "  =  C.  M. 
Westmacott. 

Blagdon,  F.  W,  220,  221,  222,  225, 
243,  244,  328. 

Blake,  William,  55,  in,  203,  219,  291. 

Blenheim  palace,  284. 

Blin,  — ,  colour  printer,  69. 

Bluck,J.,  126, 144, 189,190,233,240,358. 

Bode,  Wilhelm,  25,  26,  28. 

Bodleian  Library,  36. 

Bohn,  Henry,  330. 

Boldre,  Hants,  259,  260. 

Bombay,  294. 

Bonaparte,  Joseph,  76. 

Bonavente,  Duchess  of,  75. 

Bond  Street,  243. 

Bonington,  R.  P.,  276. 

Bonnet,  Louis,  23,  55. 

Book  of  Nonsense,  297. 

Book  for  a  Rainy  Day,  102,  192. 

A  book  of  drawing,  limning,  wash- 
ing, or  colouring  of  maps  and 
prints,  31. 

books  of  travel,  illustrations  of,  215. 

booksellers,  their  catalogues  often  im- 
perfect as  to  detail,  2,  3. 
„         breaking     up     illustrated 

books,  4,  9. 
„         their  shops  as  fields  for 
study,  8. 

Booth,  J.,  199. 

Bory  de  St  Vincent,  J.  B.,  328. 

Bossuet,  J.  B.,  portrait  by  Grateloup, 
11- 


Boswell,  James,  229. 

botanical  collections  of  Burchell,  239. 

Botanical  Miscellany,  239. 

botanical  subjects  illus.  in  aquatint^ 
213,  239,  295. 

Boucher,  Fran9ois,  43,  45,  49. 

Boulogne,  305. 

Bouton,  — ,  189. 

Bowdich,  Thomas,  238,  239,  328. 

Boxhill,  Surrey,  201. 

Boydell,  John,  88,  266,  267,  268,  269, 
283,  290,  315. 
„        Josiah,  266,  269,  358. 

Boyne,  — ,  254. 

Bradford,  Rev.  Wm.,  328. 

Brayley,  Edward  W.,  203,  266,  328. 

Brazil,  230,  256. 

breaking  up  illustrated  books,  4. 

Breslau,  259. 

Briceau,  Angdlique,  72. 

The  bridge  and  Goats,  95,  96. 

Bridgens,  R.,  328,  359. 

Bridgman,  Charles,  gardener,  171. 

Bridgnorth,  aquatints  by  Sandby,  108. 

A    Brief  History    of  Ancient   and 
Modem  India,  321,  244. 

Bright,  Dr  Richard,  232. 

Brighton  pavilion,  148,  149,  180,  311. 

Brighty,  G.  M.,  359. 

Bristol,  238. 

Britannia  Illustrata,  160,  161,  165. 

British  Castles,  27  >. 
„       Costumes,  316. 

The  British  Volunteer,  224. 

British  Forum,  in  the  Strand,  112. 
„  Institution,  226. 
„  Museum,  26,  28,  36,  39,  "45, 
52,  53,  57,  71,  11,  91,  92, 
93,  96,  124,  141,  143,  226, 
235,  238,  250,  256,  284,  291, 
295. 

Britton,  John,  150,  151,  203,  204,  329. 

Brobdingnag,  309. 

Brompton  nurseries,  166. 

Brookes  Subscription  House,  123. 

Brookshaw,  George,  295,  329. 

Broughton,  Rev.  Brian,  329. 
„  Thomas  D.,  329. 

Brown,  Lancelot,  174-178. 

Browne,  Sir  Thomas,  163,  300. 

Bruce,  J.,  329,  359. 
„       James,  234. 

de  Bruyn,  J.,  53 

Bryant,  Joshua,  189, 190,  210,  286, 329. 

Buckingham,  James  S.,  329. 
C 


412 


HISTORY  OF  AQUATINT 


Buckingham  House,  142. 
„  Palace,  148. 

Bullock,  William  H.,  256,  257,  329. 
Bunbury,    Henry,    caricaturist,    137, 

301,  302,  337. 
Bunyan,  John,  298. 
Burchell,  W.  J.,  239,  329. 
Burgher,  Michael,  161. 
Burke,  — ,  291. 

„       Thomas,  23,  359. 
Burleigh,  Lord,  162. 
Burlington,  Earl  of,  171. 
Burlington  Gate^  or  the  Taste  oj  the 

Town,  172. 
Burmah,  265. 
Bumey,  E  F.,  291. 

„         Fanny,  254,  260,  299. 
Burning  the  Oaks,  a  scene  in   Tom 

Quad,  311. 
Burton,  Alfred,  304,  329. 
Bury  St  Edmunds,  153. 
Bury,  Mrs  Edward,  297,  329. 

„     Thomas  T.,  329. 
Butcher,  Rev.  Edmund,  329. 
Bute,  Lord,  199. 
Butler,  Samuel,  329. 
Byron,  Lord,  217,  233,  234,  329. 

The  Cabinet  of  Arts,  being  a  new  and 
Universal  Drawing  Book,  205,  329. 

Cadavery,  near  Palermo,  246. 

Cadell,  print-seller,  88. 

Caf^  Frascati,  66. 

Caillard,  F.,  330. 

Calcographia  .  .  .  chalk,   black  lead 
pencil,  and  pen  and  ink,  21  r. 

Calcografia  Nacional,  77. 

Calcutta,  308. 

Caldcleugh,  Alexander,  330. 

Caldwell,  James,  291,  359. 

Callcott,  Lady,  230,  255,  338. 
„         Sir  A.  W.,  230. 

Calm,  97. 

Calvert,  F.,  330. 

Cambria  Depicta,  278. 

Cambrian  Popular  Antiquities,  278. 

Cambridge,  125,  126,  160. 

The  Camera,  or  Art  of  Drawing  in 
Water  Colours,  212. 

camera  obscura,  88. 

Campbell,  Alexander,  33a 
„  Sir  Archibald,  294. 

„  Rev.  John,  330. 

Camps  in  Hyde  Park  and  at  Black- 
heath,  aquatints  by  Sandby,  109. 


Canada,  229,  255. 
Canale,  Antonio,  92,  93. 
Canning,  George,  217. 
Cantabrigia  Illustrata,  160. 
Canterbury,  109. 
Canton,  C.  J.,  359. 
Canton,  China,  250. 
"Capability  Brown "  =  L.  Brown. 
Cape  Coast  Castle,  238. 

„     Colony,  230,  239-244. 
Capua,  aquatints  by  Sandby,  108. 
Cardon,  Anthony,  291. 
Careless,  John,  330. 
Caresme,  Philippe,  59. 
Carey,  David,  305,  330. 
"caricatura  exhibition,"  301. 
caricature,  illus.  in  aquatint,  25. 

,,         and  co-.tume,  298  et  seq. 
Carlton  House,  142. 
Carnival    at    Rome,     aquatints     by 

Sandby,  109. 
Carnot,  Lazare  N.  M.,  294. 
Caroline,  Princess  of  Wales, 

„         queen  of  George  IL,  171. 
Carossi,  — ,  in. 
Carr,  Sir  John,  217,  218,  219,  315,  330, 

359-  . 
Cartwright,  T.,  359. 
The  Cascade  of  L  Escombons,  229. 
Cassas,  L.  F.,  330. 
Catalogue  of  Engravers,  35. 
Cathcart,  Lord,  embassy  to  China,  85. 
Cathedral  A  ntiquities,  151. 
Cathedral  Gate  of  Messina,  246. 
Catherine,    Empress   of  Russia,   86, 

318. 
Cattermole,  R ,  142. 
Catton,  Charles,  in,  289,  290,  330, 

359- 
„  „        senr.,  289,  359. 

Caucasus,  227. 

Caylus,  A.  C.  P.  de  T.  (Comte  de),  55. 
A  century  of  painters  of  the  English 

School,  198,  265. 
de  Cernel,  — ,  69. 
Cervantes,  Miguel  de,  330. 
Ceylon,  244,  245. 
Chalcographi     ingeniosissimi,     opus 

Typochromaticum,  28. 
chalk  drawings  imitated  in  aquatint, 

359- 
Chalon,  Jan,  51. 

Chamberlaine,  John,  55,  96,  330,  359. 
Chambers,  Sir  WiUiam,  170,  175,  232. 
Chambord,  287. 


INDEX 


413 


Chandler,  Richard,  232. 

Chapuy,  Jan  B.,  60,  62,  64. 

The  Character  of  the  Russians,  228. 

The  Characteristic  Costume  of  France, 

319. 
Charles  IV.  of  Spain,  75. 
Charlotte,  Princess,  96. 
Charterhotcse,  126. 
Chatham,  Earl  of,  174. 
Chatsworth,  26,  174. 
Chaucer,  G.,  162,  315. 
Cheam  school,  258. 
Chelsea,  274. 

„       tapestry  factory,  35. 
„       waterproofing  factory,  114. 
Chery,  M.,  71. 
Chesterfield,  Lord,  218,  300. 
Cheylesmore       Collection,       British 

Museum,  17,  18. 
chiaroscuro  drawings,  79. 

„  woodcutting,  53,  54. 

Chichester  cathedral,  313. 
Chile,  230,  255. 
China,  237,  241,  249,  250,  251,  254, 

265,  273,  317. 
Chinese  gardens,  169,  170. 
Chiswick,  192. 

Christie's  Auction  Room,  124. 
Christie's,  Josi  sale,  52  ;  Sandby  sale, 

100. 
Christmas    Annuals  introduced    by 

Ackermann,  118. 
Christ's  Hospital,  126,  192, 
Churchill,  Chas.,  301. 
Cipriani,  G.  B.,  54,  334. 
City  churches,  Papworth's  views  of, 

144. 
Claremont,  Surrey,  207. 
Clark,  J.,  12,  188,  232,  250,  251,  257, 
270,  277,  281,  283,  331,  359. 

„      John  Heaviside,  14,  185,  186, 
187,  188,  224,  320,  331,  359. 

„      William,  255,  331. 
Clarke,  John,  297,  331,  360. 
Claude,  Le  Lorrain,  95,  96,  176. 
Clay,  T.,  199,  210. 
Clear  Moonlight,  1 88. 
Cleghorn,  J.,  359. 
Clerisseau,  C.  L.,  103,  108. 
clerk  of  the  Pells,  251. 
Cleveley,  John,  80,  81,  84,  104,  182. 

„        Robert,  81,  183. 
Clive,  Lord,  243. 
Coalheavers,  142. 
coarseness  in  caricature,  299,  300. 


coast  scenery  of  England  and  Scot- 
land, 279,  280, 
Coates,  Rev.  Charles,  331. 
Cobham,  Lord,  171,  174. 
Cochin,  C,  45. 
Cochrane,  Capt.  J.  D.,  331. 
Cockburn,  Lt.-Genl.  James,  331,  359. 
J.  P.,  234. 

Rv  359- 
Cocking,  — ,  189,  190. 
Cockney  Land,  311. 
Colburn,  Henry,  128. 
Colebrook,  Robert  H,,  243,  331. 
Collection  of  British  Field  Sports,  281. 
„         of  the  Dresses  of  Different 

Nations,  315. 
„         d' Itnitations  de  Dessins,etc., 

52,53- 
„         de  Portraits  .  .  .  et  Sujets 
Memorables  de  France,  69. 
„         of  prints  after  .  .  .  G.  B, 
Cipriani,  55. 
collectors  of  prints,  hints  for,  6,  8,  9. 
college  gardens,  160. 
Collins,  John,  100,  103. 
Coloritto,  L'harmonie  du  coloris  dans 

la  peinture,  34. 
colour  printing  by  H.  Seghers,  27. 
„  „   J.  Teyler,  28. 

„   G.  D'Agoty,  38. 
„  „    St  Non,  43. 

„  „   PIoos,  47,  48. 

„  „   C.  M.  Metz,  56. 

„  „  J.  G.  Prestel,  57. 

,,  development  of,  20  et 

seq. 
„  from  several  plates,  23, 

24,  37,  38. 
„  from  single  plates,   i, 

21-24. 

„  how  to  detect  it  from 

hand  colouring,  8, 30. 

„  in   France,   temp.  Fr. 

Rev.,  59  et  seq. 

colourist's    name    sometimes   given, 

90,  121  249. 
Combe,  William,  121,  138,  145,  224, 
259,  269,  305,306, 
307,  331,  332. 
„  „         story  of  his  career, 

130-136. 
Comparative  View  of  .  .  .  the  Indian 
Nations    of     North    and    South 
America,  255. 
Coinpleat  Gardner,  164,  167. 


414 


HISTORY  OF  AQUATINT 


Complete  Course  of  Lithography,  Ii6. 
Conchology,  or  tike  Natural  History 

of  Shells,  297. 
Conduit  Street,  262. 
Connoisseur,  233, 
Constantinople,  ancient  and  modern, 

233- 
Conway  Castle,  272. 
Cook,  Captain  James,  84,  248,  253, 

254,  256,  268,  315. 
Cooke,  W.  B.,  259. 
Cooper,  R.,  291,  359. 
Cootwyk,  Juriaan,  47,  53. 
Copenhagen,  battle  of,  in   aquatint, 

222. 
Copley,  Antony  V.,  276. 
Corday,  Charlotte,  ^\. 
Corea,  251. 
Cornwall,  279,  280. 
Cornwallis,  Lord,  237. 
Coronation  of  George  IV.,  147. 
Le  Corps  de  Garde,  44. 
Corsica,  229. 
Coruna,  226. 
Cosmo  the  Third,  354. 
costume,  illustrated  in  aquatint,  5. 
The  Costume  of  Austria,  317. 
Costume  of  the  original  Inhabitants  of 

the  British  Islands,  322. 
The  Costutne  of  Great  Britain,  128, 

141,317. 
The  Costume  of  China,  317. 
The  Costume  and  Customs  of  Modern 

India,  320. 
The  Costu7ne  of  Russia,  317. 
Costume  in  the  Swedish  Army,  317. 
The  Costutne  of  Turkey,  317, 
The  Costume  of  Yorkshire,  319. 
Costumes    et    Annates    des    Grand 

Thedtres  de  Paris,  60,  62. 
Cotman,  John  Sell,  226,  295. 
Cottage  in  Hyde  Park,  190. 
Cousins,  Samuel,  18. 
Covent  Garden  clubs,  311. 

„  „       theatre,  262. 

Cowes,  I.  of  Wight,  148. 
Cowley,  Abraham,  163. 
Cox,  David,  183,  185,  202,  204,  206. 

„        „       his  drawing-books,  209- 

211,332- 
Cozens,  Alexander,  193,  195,  196,  201. 

„        J.  R.,  80,  81,  183,  196-198. 
Cradock,  Joseph,  175. 
Craig,  W.  M.,  281,  360. 
Cries  of  London  (1760),  100. 


Cris  et  Costumes  de  Paris,  68. 

Cristall,  Joshua,  20i. 

Critical      Enquiry      into      Ancient 

Armour,  322. 
Cromwell,  Oliver,  40,  315. 
Crosse,  John,  332. 
Crotchet  Castle,  175. 
"  Crowquill,  Alfred"  =  A.  H.  Forrester. 
Cruikshank,  George,  224,   302,    305, 
307,308,310,332,360. 
„  Robert,  308, 310,333,360. 

Cumberland  Lakes,  263,  264. 

„  Henry  Frederick,  Duke 

of,  275. 
„  Wm.    Augustus,    Duke 

of,  99. 
Cundee,  J.,  274. 
Curtis,    W.,    his     botanical     books 

hand-coloured,  31. 
Cuvier,  Baron,  238. 

Dacca,  308. 
Daguerre,  L.  J.  M.,  189. 
Dallas,  R.  C,  345. 
Dallaway,  James,  233,  333. 
Dance  of  Death,  306. 
Dance  of  Life,  306. 
La  Dance  Russe,  44. 
Daniell  family,  9,  12,  263. 

„      Samuel,  333,  360. 

„      Thos.,  94,  95,  180,  244,  246, 
333,  360. 

„      William,  244,  245,  246,   273, 
279,  280,  333,  360. 
Daphne  changed  into  a  Laurel,  45. 
Darlington,  Earl  of,  286. 
Darwin,  Erasmus,  333. 
Davenport,  H.,  334. 
David,  Jacques  Louis,  2i8,  313,  314. 
Davie,  J.  C,  334. 
Dawe,  H.  E.,  360. 
Dawn  of  Day,  187. 
Dayes,  Edward,  32,  81,  90,  106,  183, 

193. 
Dearn,  T.  D.  W.,  334. 
The  Death  of  General  Wolfe,  267. 
Debucourt,  L.  P.,  23,  43,  6r,  62  ;  life 

of,  63-67. 
Defoe,  Daniel,  298. 
Delafosse,  J.  R.,  41,  43. 
Delany,  Mrs,  260. 
Demarteau,  G.  A.,  23. 
Denon,  — ,  220 
Depain,  — ,  hairdresser,  62. 
Derwent  river  (Derbyshire),  174. 


INDEX 


415 


Desastres  de  la  Guetra,  76. 

Descourtis,  C.  M.,  23,  62,  63. 

Description  of  .  ,  .  Warburtotis  Pri- 
vate Madhouse,  304. 

Descriptive  Catalogue  of .  .  .  Water- 
Colour  Paintings  in  the  South 
Kensington  Museum,  78,  182. 

Designs  for  the  Pavilion  at  Brighton, 
180. 

Dessins  des  meilleurs  peintres^  etc.,  57. 

Les  deux  Baisers,  64. 

Devis,  A.  W.,  84,  88. 

Devonshire,  280. 

De  Wint,  Peter,  191,  201,  202,  206. 

Dhuboy,  India,  293. 

*'  Diamond  Necklace,"  colour  printed 
portraits  of  those  concerned,  62. 

Diary  of  Henry  Crabb  Robinson,  133. 

Diary  of  Madame  D'Arblay,  quoted, 
254,  260. 

Dibdin,  Charles,  334. 

Dickens,  Charles,  123,  146,  147. 

Dictionary  of  National  Biography, 
quoted,  131,  241,  253,  291. 

Dictionary  of  the  Vulgar  Tongue,yi%. 

Dieppe,  287. 

Dietrich,  C.  W.  E.,  53. 

Dilettanti  Society,  86,  232. 

Diorama,  189,  270. 

Diorame  Anglaise,  ou  Promenades 
pittoresques  h  Londres,  307. 

Dissertation  on  Oriental  Gardening, 

Doctor  Syntax,  his  three  tours,  132, 
138,  258,  306,  312. 
j,  in  Search  of  the  Pic- 

turesque, 131,  134. 
„  in  Search  of  a  Wife, 

133- 
„  tn  Search  of  Consola- 

tion, 132. 
Dr  Syntax,  Life  oj  Napoleon,  310. 
Dodd,  Dr  Wm.,  306. 
Dodd,  Robert,  360. 
Dodwell,  Edward,  234,  334. 
The  Dog-breaker,  319. 
Donaldson,  P.  L.,  234. 
Don  Carlos,  75. 

Don  Quixote,  illustrated  in  aquatint, 
14,  63,  71- 
„  „        illustrated     in      water 

colours,  319. 
Douai,  130. 
Dougall,  F.,  340. 
Douglas,  Rev.  James,  334,  361. 


D'Oyly,  Sir  Charles,  308,  320,  334. 
Drawings,  original  existing,  for  colour 

illustrations,  95,  124,  126,  133,  141, 

150,  268. 
drawing-books,  182^/ j^^. 
drawing-master,    a    new   profession, 

183. 
drawing-school  in  the  Strand,  112. 
Dresden,  36. 
Drinkwater,  W.,  291. 
Drury  Lane  theatre,  322. 
Dryden,  John,  73,  128,  298. 
dry-point  etching,  18,  72. 
Dublin,  261,  263. 
Dubois,  E.,  217,  334. 
Dubourg,  C.,  320. 
Dubourg,  M.,  334,  361. 
Dugdale,  Sir  William  :  Warwickshire, 

175- 
Duncan,  Edward,  361. 
Dundas,  Admiral,  230. 
Dunkarton,  Robert,  291,  361. 
Dunstanborough  Castle,  96. 
Diirer,  Albert,  56. 
"  dustground,"  13,  14,  71,  106. 
Dutch  etchers  and  painters,  25. 

„      print's,  29. 

„      influence  on  English  garden- 
ing, 165,  166. 
Dwarris,  W.  H.,  251. 
Dyce  collection,  South  Kensington, 

J[33- 
Dyer,  John,  168. 

Ea!;:.)m,  Richard,  55,  57,  291,  334, 

East  India  Company,  237,  239,  245, 

308,  320. 
East  India  House,  252. 
Ecbatana,  227. 
Eckstein,  John,  334. 
Eden,  Major  B.,  334. 
Edridge,  Henry,  203. 
Edwards,  S.,  291. 
Edy,  J.  W.,  243,  268,  361. 
Eeckhout,  G.  van  den,  53. 
Egan,  Pierce,  305,  307,  308,  335. 
Egerton,  M.,  335,  344. 

„        D.  T.,  361. 
Egypt,  235. 

Egyptian  Hall,  London,  256. 
Eis,ht  Views  in  North  America  and 

the  West  Indies,  100. 
Elements  of  Architecture,  169. 
Elephanta,  caves  of,  273. 


4i6 


HISTORY  OF  AQUATINT 


Elgin  marbles,  232. 

Elizabethan  gardens,  159,  r6o,  161. 

Ellis,  Sir  Henry,  250,  251,  335. 

EUiston,  R.  W.,  311. 

Elmes,  James,  291,  361. 

Elphinstone,  Mountstuart,  249,  335. 

Elsam,  Richard,  335. 

Eltham,  Kent,  109. 

Emerson,  James,  335. 

Encamptnents,  aquatints  by  Sandby, 

109. 
EncyclopcBdia  of  Gardenings  153. 
Engelbach,  Lewis,  335. 
English    Bards    and    Scottish    Re- 
viewers, quoted,  235  «, 
English  Coloured  Books,  4. 
English  Dance  of  Death,  138. 
The  English  Garden,  171. 
English  Moths  and  Butterflies,  31. 
English  topography  illustrated,  258 

et  seq. 
The  English  Spy,  310,  312. 
engravers,  their  early  experiments  in 

colour  printing,  20. 
engraving,  4,  6. 
Engravings  from  the  original  designs 

by  Annibale,  Agostino,  and  Ludo- 

vico  Caracci,  56. 
"Ephraim  Hardcastle,"  140  {v.  Pyne, 

W.  H.). 
Epistle  to  Dr  Arbuthnot,  122. 

„       to    the  Earl  of  Burlington, 

166,  167. 
„       to  the  Rt.  Hon.  Lord  Methuen, 
172. 
Essay  on  Design  itt  Gardening,  171 

„      on  Landscape  Gardening,  ij^. 

„      on  Modern,  Gardening,  171 

.,      on  Murder  as  a  Fine  Art,  312. 

„      on  the  Practice  of  taking  Views, 
188. 

„      on  Prints,  259. 

„      on  Transparent  Prints^  284. 
Essays  of  Elia,  312. 

„       on  Pictorial  Beauty,  \Zt. 

„       on  Picturesque  Beauty,  168. 

„       on  the  Picturesque,  168,  176, 
177. 
Essex,  Earl  of,  91,  93. 
Estcourt,  T.  H.  S.,  335. 
etching,  and  aquatint,  4,  15,  45,  46,  56, 
73,  95,  97,  107. 
„      by  Dutch  painters,  25,  26. 
„       by    Rowlandson,    137,     139, 
140,  144. 


etching,  coloured  by  hand,  38. 

„      compared  with  mezzotint^{in 
relation  to  aquatint,  17.  ,  ■"* 
„       how  distinct  from  engraving, 
vi. 
Etching,  Engraving,  and  the  other 
methods    0}  printing   pic- 
tures, 6. 
Eton,  126. 

„      aquatints  by  Sandby,  108. 
„       Bucks,  100,  196,  311. 
£,venenunts  de  la  Revolution,  68. 
European  in  India,  221,  308. 
European  Magazine,  127. 
Evelyn,  John,  163,  164,  165. 
Evening,  191. 
Excursion  sur  les  Cotes   et  dans  les 

Ports  de  Normandie,  276. 
Excursions  of  Pleasure  and  Sports 
on  the  Thames s  272. 

Fa  BR  IS,  — ,  108. 

Facius,  G.  S.  and  J.  G.,  56, 

facsimile  reproductions,   scheme  by 

Le  Blon,  33. 
Falconer,  W.,  335. 
the  Falconer's  Club,  Paris,  287. 
The  Family  of  the  Psittacidce,  297. 
Farington,  Joseph,  235,  268,  335. 
Fellowes,  W.  D.,  335,  361. 
Fdn^lon,  Abp.,  portrait  by  Grateloup, 

73- 
Ferrey,  Benjamin,  146,  148. 
Fite  de  la  GrancPmaman^  65. 
Field,  Barron,  335. 
Fielding,  Copley,  202. 

„         Henry,  18,  298,  299. 
„        J.,  269,  361. 
„         Johnson,  255. 
„         N.  S.,  152,  276,  361. 
„        T.   H.   A.,  II,  12,  14,  120, 
185,    199,    212,    213,  265, 
275,276,285,335,336,361. 
Fiennes,  Celia,  166. 
Finch  ley,  119. 
Finden,  E.  F.,  362. 
Findlay,  — ,  362. 
Finland,  226. 
Finish   to   the  Adventures  of  Tom, 

ferry,  and  Logic,  307. 
Fitzclarence,  G.  A.  F.,  Earl  of  Mun- 

ster,  247,  336. 
Five    Views    of  the    Island  of  St 

Helena,  236. 
Five  Views  of  Windsor  Castle,  106, 108 


INDEX 


417 


Fleury,  Cardinal,  36. 

Flinders,  Capt.  Matthew,  85,  272,  273. 

Floding,  P.  G.,  40,  45,  46. 

Florence,  54.  . 

flower  painting,  213,  295,  296. 

Foire  de  Village^  63. 

Fontainebleau,  287. 

Forbes,  James,  293,  294,  336. 

Forbin,  Count,  336. 

Foreign     Field     Sports,     Fisheries, 

Sporting  Anecdotes^  etc.,  283. 
foreign  travel,  21^  et  seq. 
Fores,  printseller,  300-302. 
Forces  New  Guide  for  Foreigners, 

302. 
Forget-me-not   and    other    Annuals, 

118,  128. 
Forrest,  Lieut. -Col.  C.  R.,  248,  336. 
Forrester,  A.  H.,  336,  360,  362. 
Fortescue,  Hon.  Mrs,  199. 
Fowler,  Wm.,  336. 
Fox,  C.  J.,  228. 

Fragments   d  choisir  dans  les  pein- 
tures  et  les  tableaux   .  .  .  ditalie, 
41. 
Fragments  of  Voyages  andTravels,  251. 
Frag7nents  on  the  Theory  and  Prac- 
tice of  Landscape  Gardening,  178. 
Fragonard,  Honord,  42,  59,  68. 
France,  2,  231,  271,  286,  319. 
Francia,  Louis,  336,  362. 
Frankland,  Capt.  Charles  C,  336. 

„  Robert,  336. 

Franklin,  Sir  John,  255,  337. 
Fraser,  James  B.,  336. 
Frederick,  Prince  of  Wales,  portrait 

by  Le  Blon,  33. 
Free  Society  of  Artists,  261. 
French     emigrants     employed     by 
Ackermann,  1 13. 
„         influence    on    English   gar- 
dening, 164. 
„         intercourse     with     England 
after  the  Restoration,  216. 
„        manners  and  customs  illus- 
trated, 286. 
„        Revolution,    portraits,    etc., 

64,66,71,72. 
„         school  of  aquatintists,  61-71. 
„         taste  in  gardening,  173. 
„         travels  in  England,  276. 
"  Freundschaft  vereinigt  die  Kiinste," 

47- 
Frogmore,  142. 
Fuller,  S.  and  F.,  209. 


Fry,  Wm.  T.,  362. 

Gabbiani,  D.,  54. 

Gainsborough,Thomas,  195,  201,  315. 

Galerie  Francaise,  38. 

The  Gallery  of  Fashion,  316. 

Gambia  river,  239. 

Gandon,  James,  quoted,  103,  104,  107. 

garden  at  Stowe,  Bucks,  172. 

Garden  of  Cyrus,  163. 

Garden  of  the  Dog  and  Duck,  207. 

Gardens  of  Epicurus,  163. 

garden  literature  illustrated,  153-170. 

gardening  controversies,  1 56  et  seQ. 

Gardiner,  James,  164. 

Gardnor,  Rev.  J.,  230,  337,  362. 

Garnett,  Dr  Thomas,  337. 

gas-lighting,  early  notice  of,  115,  116. 

Gaugain,  Thomas,  362. 

Gautier,  engraver,  v.  d'Agoty,  36. 
„       Theophile,  74. 

Gay,  John,  172. 

Gay's  Fables,  illustrated,  290. 

Geissler,  C.  G.  H.,  221,  269. 

"Geoffrey  Gambado "  =  H.  W.  Bun- 
bury. 

Gell,  Sir  Wm.,  232,  233,  337. 

Gem,  and  other  annuals,  118. 

Genoa,  231. 

Gentle  Shepherd,  Allan's  illustrations 
to,  100. 

Gentletnat^s  Magazine  quoted,    127, 
184,  237,  239. 

Gentlemari  s  Magazine  of Fashion,'^\b. 

gentlemen's  seats  sketched  for  Wedg- 
wood ware,  88,  89. 

Geography  and  Antiquities  of  Ithaca, 
232,  233. 

geometrical  gardens,  158. 

George  I.,  33. 

„       III.,  301,  309,  313. 
„       IV.,  123,  148,  180,  322. 

Georgian  era,  its  humour,  123, 298, 312. 

The  German  Gil  Bias,  1 34. 

German  influence  in  the  introduction 
oi  Annuals,  etc.,  118. 

von  Gerning,  Baron,  337. 

Gessner,  Conrad,  337. 

Ghost  of  a  Flea,  203. 

Gibbons,  Grinling,  165. 

Gibraltar,  234. 

Gil  Bias,  14. 

Gillespie,  General,  252. 

Gillray,  James,    137,    219,  228,    300, 
302,  309,  337,  362. 


4t8 


HISTORY  OF  AQUATINT 


Gilpin,  Bernard,  258. 

„  Rev.  William,  80,  132,  168, 
175,  187,  208,  258,  259, 
260,  271,  277,  337,  362. 

„       Sawrey,  258,  259. 
Girtin,  John,  93,  94. 

„      Thomas,  32,  81, 90-95, 183, 185, 
201,  218,  226,  262,  318,  338. 
Gleadah,  Joshua,  203,  363. 
Godby,  J.,  281,  363. 
Godoy,  Manuel,  75. 
Godwin,  William,  315. 
Golbdry,  S.  M.  X.  de,  220. 
Gold  Coast,  238. 
Gold,  Captain  Charles,  247,  338. 
Goldsmith,  Oliver,  338,  346. 
Goncourt,  E.  and  J.,  quoted,  64. 
Gooch,  Thomas,  338. 
Gordon  Riots,  107. 
Gosse,  Edmund,  quoted,  290. 
gothic  architecture  revival,  146. 
gouache,  79. 

Governor  Pownall  v.  Pownall,  T. 
Gowland,  Thomas,  231. 
Goya,  Francisco,  2,  "]%  74  et  seq. 
Goyen,  J.  J.  van,  25,  53. 
Graesse,  J.  E.  T.,  his  Livres  Rares  et 

pr^cieux,  quoted,  28. 
Graham,  Maria,  230,  255,  338. 

„        Capt.  Thomas,  230. 
Grande  Chartreuse,  258. 
Graphic  Illustrations  of  Hogarth^  271. 
Graphic  History  of  the  Life,  Exploits, 

and  Death  of  Nelson,  220. 
Grateloup,  Jean    Baptiste,  notice  of 

him  and  his  work,  72,  73. 
Gravatt,  Colonel,  106. 
Gravelot,  Hubert  Francois,  59. 
Gray,  C,  141. 

„      Thomas,  102,  169, 174,  218,  258, 
Grecian  Remains  in  Italy ^  234. 
Greece,  232,  234. 
Greece,  apoe/n,  285. 
the  Green  Room,  311. 
Green,  J.,  144,  338. 

„      J.  H.,  338. 

„      Valentine,  23. 

„       William,  338,  363. 
Grego,  J.,  140. 
Grenville,  Lord,  217. 
Gresse,  J.  A.,  183,  196,  201. 
Grevilie,  Charles,  Earl  of  Warwick,  86. 

„  Hon.  Charles,  98. 
Grimm,  Samuel  H.,  80,  182. 
Grindlay,  Capt.  R.  M.,  121,  248,  338.  | 


Grizzle,  306. 

Grose,  F.,  308,  338. 

Groups    of    Flowers,    Fruits,    and 

Birds,  etc.,  296. 
Guido  Reni,  172. 
Guise,  Sir  John,  33. 
Gujerat,  293. 
Gustavus  III.  of  Sweden,  45. 

„         IV.,  226. 
Guyot,  Laurent,  60,  67,  68,  207,  208. 

Haarlem,  48. 

Hague,  317. 

Hajji  Baba,  241,  242.. 

Hakewill,  James,  255,  338. 

Hall,  Capt.  Basil,  251,  338. 

»     J-,  363- 
„     Sir  James,  251. 
Hamble,  J.,  363. 
Hamilton,  Hon.  Charles,  173. 
„         \ViIliam,  338. 
„         Sir  WiUiam,  232. 
Hampton  Court,  164,  165,  174. 
Hampton  Court,  142. 
hand  colouring,  i,  4,  23,  24,  80. 

„  by  Girtin  and  Turner, 

90,  92. 
„  examination  of,  8. 

„  suspected  in  the  prints 

of  Ploos,  49. 
„  theprecursorofwater- 

colour  painting,  31. 
„  works  on,  31. 

Hanney,  Sir  Thomas,  166  . 
Harcourt,  Lord,  102. 
Hardie,  — ,  363. 

„       Martin  :  his  English  Coloured 
Books,  5. 
Harding,  senior,  104. 
„        F.  C,  206. 
J-  W.,  339. 
Hardy,  J.,  229,  339,  363. 
Harestreet,  Essex,  155. 
Harley,  George,  339. 
Harraden,  R.,  190,  339,  363. 
Harrow  School,  241. 
Harrow  School,  126. 
Hassell,  John,  210,  211,  212,  213,271, 

272,  339,  2>^l- 
Hastings,  Warren,  248. 

„         Marquess  of,  247. 
Hatfield  House,  162. 
Haunch  of  Venison,  306. 
Ha  veil,  Daniel,    121,    126,    142,  240, 
265,  266,  319,  363. 


INDEX 


419 


Havell,  Robert,  14,  151,  236, 247,  249, 
250,265,296,297,319,321- 
339,  363. 

„      R.,  junr.,  296,  363. 

„       William,  senr.,  263. 

„  „        jun.,    85,   263,   264, 

268,  339. 
Havre,  218. 
Hawker,  Peter,  339. 
Hawkins,  G.,  363. 
Haydon,  B.  R.,  219,  314. 
Haygarth,  William,  285,  339. 
Haymarket  Theatre,  built  by  John 

Nash,  149. 
Headlong  Hall,  175. 
Hearn  and  Walker,  316,  340. 
Hearne,  Thomas,  85,  89,  92,  106. 
Heath,  Charles,  363. 

„      William,  224,  305,  340,  363. 
Heber,  Bishop,  308. 
Heidelhoff,  Nikolaus,  316,  340. 
Henderson,  John,  92,  291. 

„  W.,  290. 

Hentzner,  Paul,  quoted,  162. 
Heriot,  George,  229,  255,,  363,  340. 
Highlands  of  Scotland,  285,  286. 
Hill,  J.,  12,  141,  321,  364. 

»   R-,  364. 

Hindoos,  294. 

Hindu  architecture,  180. 

Hints  on  Ornamental  Gardening,  181. 

Historic  Military  and  Naval  Aruc- 

dotes,  224,  305. 
Historical  Account  of  the  Campaigns 

in  the  Netherlands,  223,  310. 
Historical  Account  of  the  Inns  oj 

Court,  271. 
Historical  and  Descriptive  Accounts 

of  the  Theatres  of  London,  266. 
An  Historical  Memento  .  .  .  of  the 

Glorious  Peace  ^1814,  221,  243. 
Historical,  Military,  and  Picturesque 

Obsejvations  on  Portugal,  223. 
Historical  Sketch  of  Moscow,  227. 
History  of  the  Abbey   Church  of  St 
Peter's,  Westminster,\2/^, 

125,  145,  151- 
British  Costume,  313. 
the  Colleges,  126,  145,  151. 
the  Four  Georges,  228. 
fava,  253. 

fohnny  Quce  Genus,  133. 
Madeira,  133,  306, 
the     Old     Water  -  Colour 

Society,  i6x,  202. 


History  of  the  Military  Transactions 
of  the  British  Nation  in 
Indostan  from.  1745 
(Robert  Orme),  243. 

„         Norfolk,  154. 

„        Printing,  304  n. 

„  the  River  Thames,  266, 
268,  269. 

„        the  Royal  Residences,  142, 

143- 
„        the  Universities  of  Oxford 
and     Cambridge,      125, 

145.  149»  150,  151,  273. 
„        the  Wars  occasioned  by  the 

French  Revolution,  224. 
Hobhouse,  J.  C,  234,  340. 
Hodges,  Wm.,  247,  248,  253,  340,  364. 
Hodson,  T.,  340. 
Hoffmann,  ].,  77,  291. 
Hogarth,  J.  B.,  121,  249. 

„        William,  100,  123,  172,231, 

271,  298,  301,  340. 
Holbein,  Hans,  55,  56. 
Holl,  Maria  Catherine,  57. 
Holland,  52,  155,  229,  271,  315. 

„         House,  162. 
Holland,  Sir  Henry,  232. 
Holmes,  G.,  189. 
Hood,  Sir  Samuel,  334. 
Hooker,  Sir  Wm.  J.,  239,  295. 
Hooper,  printseller,  88. 
Hopfer,  Daniel,  46. 
Hoppner,  John,  235. 
Hopwood,  James,  364. 

W.,  291. 
the  Horse  Guards,  Whitehall,  172. 
Hotten,  J.  C,  132. 
Hottentots,  239. 
How,  Wm.  T.,  169. 
Howitt,  Samuel,  281,  282,  283,  340, 

364- 

Hubert,  P.  A.,  227. 

Hudson  river,  290. 

Hugford,  Ignazio  E.,  54,  55. 

Hughes,  S.  G.,  364. 

„        Rev.  T.  S.,  340. 

Humboldt,  Alexander  von,  247. 

Humphrey  Clinker,  193. 

Hungarian   and  Highland    Broad- 
sword Exercise,  225. 

Hunt,  Charles,  322. 
„     George,  248,  364. 
„     Leigh,  118,  245,  247,  311,  312, 
„     W.,  202, 
„     W.  H.,  201. 


420 


HISTORY  OF  AQUATINT 


Hunter,  B.,  121,  364. 
„       James,  244. 
Huskisson,  William,  313. 
Hutton,  William,  340. 
Huysum,  Jan  van,  53. 
Hyde  Park,  109,  171,  311. 

IBBETSON,  Julius  Caesar,  85, 272,  340, 

364- 
Iceland,  231. 

Ichnographia  Rustica,  167. 
illustrated  gift  books  introduced   by 

Ackermann,  118. 
Illustrations  of  His  Majesty's  Palace 

at  Brighton,  181, 
Illustf  ations  of  Japan,  128. 
Imitations  of  Ancient  and  Modern 

Drawings,  56. 
Imitations  of  Original  Drawings  by 

Hans  Holbein,  55. 
imprint :     of   draughtsman,    etcher, 

colourist,  and  engraver,  121. 
Improvement  of  Real  Landscape,  176. 
Index  of  Colours  and  Mixed  Tints, for 

the  use  of  beginners,  etc.,  212. 
India,  235,   242-249,   265,    273,   282, 

293.  294,  308,  320. 
Indians,  North  American,  255. 
India  House,  123. 
Inkunabeln    der   deutschen    Nieder- 

Idndischen  Radicrung,  46. 
Inquiry  into  the  Changes  of  Taste  in 

Landscape  Gardening,  178. 
Inquisition,  satirised  by  Goya,  74,  75. 
Interesting  Selections  from  Animated 

Nature,  etc.,  292. 
international  intercourse  improved  by 

travel  books,  257. 
Incorporated  Society  of  Artists,  261 
Ireland,  S.,  9,  270,  271,  340,  341,  365. 

„     W.  H.,  271,  341. 
an  Irish  Wake,  311. 
Ischia,  aquatints  by  Sandby,  108. 
Ispahan,  227,  241. 
Italian  gardens,  1 59. 
Italian  School  of  Design,  96. 
Italy,  229,  231,  234,  308. 
Ithaca,  232,  233. 
Itinerary  (Leland),  162. 
Itinerary  of  Greece,  232. 

Jackson,  J.  G.,  242,  341. 
Jacob,  Wm.,  223,  341. 
Jahrbuch    der    Koniglichen     Preus- 
sischen  Kunstsammlicngen,  26. 


Jamaica,  255,  273. 

James,  John  Thomas,  341. 

Janinet,  Frangois,  23,  59,  60,  61,  62. 

Janssens,  General,  239. 

Japan,  128. 

La  Jardiniire,  144. 

Java,  252,  253. 

Jazet,  J.  P.  H.,   67. 

Jeakes,  Joseph,  365. 

Jeffery,  Thomas,  315. 

"Jemmy   Sketch "=  James   Wathen. 

Jenkins,  James,  341. 

Jerdan,  WiUiam,  143. 

Jerusalem   Delivered,  engravings  by 

P.  Sandby,  100. 
Johnny  Newcome,  304,  305. 
Johnny  Quae  Genus,  138, 
Johnson,  John,  341. 

„        Samuel,  300. 
Johnston,  Robert,  227,  341. 

„         Charles,  341. 
Jones,  Sir  Harford,  242. 

»      J-,  365. 
Jordan,  Dora,  247. 
Joseph  Andrews,  298. 
Josi,  Christian,  49,  51,  52,  53,  342. 

„     Henri,  52. 

Journal  of  a  residence  in  Chile,  2  30, 2  5  5 . 

Journal  of  a  route  Across  India,  247. 

Journal  oj  a     Tour  .  .  .  in     Great 

Britain,  276. 

„       oja  Visit  to  South  Africa,  240. 

„       of  Voyage  to  Brazil,  230,  21;  5. 

„       of  his    Grand    Tour    (John 

Evelyn's  Diary),  165. 
„      of   the     late    Campaign    in 

Egypt,  223. 
„       of  the  proceedings  of  the  late 

Embassy  to  China,  250. 
„      of  Two  Voyages  for  the  Dis- 
covery  of  a  North  -  IVest 
Passage,  255. 
Journey  through  Albania,  234. 

„  „  Persia,  Armenia,cXc.,2^l. 

„       to  the  Shores  of  the   Polar 
Seas,  255. 
Joursanvault,  Baron  de,  41,  43. 
Jukes,  Francis,  64,  342,  365. 
Junius,  300. 

Kalendarium  Hortense,  165. 
Kamtschatka,  254. 
Kauffmann,  Angelica,  109. 
Kearnan,  Thomas,  365. 
Keepsake  and  other  Annuals,  1 18. 


INDEX 


421 


Kemble,  John,  322. 
Kensington  Palace,  142. 
Kent,  Wm.,  171,  172,  173,  174,  178. 
Keppel,  Hon.  George,  342. 
Kew  Gardens,  170,  240,  295. 
King  John's  Palace,  Eltham,  aqua- 
tints by  Sandby,  109. 
King's  Bench  prison,   123,  132,  133, 

143.  275- 
The  Kin^s  Bench  prison,  123. 
King's  Mews,  124. 
The  King's  Quhair,  162. 
Kingdom  of  Cabul,  i\cj. 
Kingsbury,  Henry,  291. 
Kip,  J.,  106,  160,  165. 
Kirk,  T.,  300. 
Kirkall,  E.,  58. 
Knapton,  G.,  58. 
Knatchbull,  Sir  Wyndham,  100. 
Knell,  W.,  152. 
Kneller,  G.,  73. 

Knight,  R.  Payne,  86,  175,  176. 
Kornlein,  — ,  53. 
Koster,  Henry,  255,  342. 
von  Kotzebue,  M.,  342. 
Kunstlerlexicon,  29. 
Lakes  of  Cumberland,  263,  264. 
Lake,  Sir  James  Winter,  192. 

„      Jessy,  192. 
Lamb,  Charles,  252,  289,  311,  312. 
Lamentation  at  the  Foot  of  the  Cross, 

26. 

Lami,  Eugdne,  200. 
La  Lampe  Polonaise,  44. 
Landmann,  G.  T.,  223,  342. 
landscape  gardening,  155,  156,  169, 

172,  173- 
The  Landscape,  176. 
Landseer,  Thomas,  365. 

John,  95. 
Land's  End,  279. 
Lane,  Theodore,  308,  365. 
Langley,  Batty,  quoted,  173. 
Laplanders  in  London,  256. 
Laporte,  John,  196,  201,  272. 
Lasino,  Carlo,  39. 
Latrobe,    Rev.    Christian     Ignatius, 

240,  342. 
Laurent,  Peter  E.,  342. 

P.  F.,  234. 
Lavallee,  Joseph,  330. 
Lavreince,  Nicolas,  59. 
Lawrence,  General  Stringer,  243. 
„  Sir  Thomas,  17,  150,  291. 


Lawson,  William,  159,  162. 

Lear,  Edward,  297. 

Le   Campion   Brothers,  printsellers, 

60. 
Lefort,  Paul,  76,  T]. 
Le  Gentil,  — ,  167. 
Legh,  Thomas,  342. 
Leigh,  S.,  189. 
Le  Keux,  Henry,  151,  365. 

„         John,  151. 
Leland,  John,  162. 
Le  Notre,  gardener  to  Louis  XIV., 

164,  165. 
Le  Prince,  Jean  Baptiste,  13,  40,  43, 

44,46,  59,  106,  315. 
Le  Sage,  A.  R.,  342. 
Lessons  on  Landscape,  191. 
Letters  from   Portugal  and  Spain, 

227. 
Letters  of  Edward  Lear,  quoted,  297. 
Letters  from  France,  294. 
Lettre    concernant    le    nouvel    Art 

dimprime  les  Tableaux  avcc  quatre 

couleurs,  38. 
Letters  of  a  Nobleman  to  his  Son, 

134- 
Letters  of  Thomas  Gray,  103. 
Le  Vachez,  60,  69. 
Levant  Company,  241. 
L'^veque,  H.,  342. 
Lewine,  F.,  140. 

Lewis,  F.  C,  53,  56,  93,  94,  95.  126. 
203,  255,  274,  291,  342,  366, 
„       George,  56,  82,  366. 
Liber  Nauticus,  275. 
Jjiber  Studiorum,  94,  96,  97,  107,  284. 
Liber  Veri talis,  95. 
Library  of  the  Fine  Arts,  loi,  143. 
Lichtenstein,  Martin,  239. 
Life  in  London,  307,  310. 

„     in  Paris,  305. 

„     of  Gandon,  102. 

„     of  Charles  James  Matthews,  146, 
147. 

„     of  Napoleon,  by  Dr  Syntax,  310. 

„     of  Nollekens,  289. 

„     of  F.  B.  Papworth,  125. 

„     of  Sheridan,  quoted,  194. 

„    of  Turner,  194. 

„     ofjosiah  Wedgwood,  86,  ^T, 

„     of  S.  Franqois  Xavier,  128. 

„    of  an  Actor,  y:)^. 

,,     of  a  Soldier,  305. 

„     of  a  Sportsman,  309. 
Liger,  Louis,  166,  167. 


422 


HISTORY  OF  AQUATINT 


Lillie,  Charles,  perfumer,  112. 
line  engraving  by  J.  Agar,  151. 
„  coloured,  31. 

„  employed  by  Jan  van 

de  Velde,  40. 
„  employed  by  Floding, 

46. 
„  specimen,///«j.,6plates. 

Linnaeus,  C,  290. 
Linnell,  John,  201,  202,  291, 
Literary  Gazette^  143. 
„        Recollections,  260. 
„        Souvenir  QXid  other  Annuals, 
118. 
lithography,  7,  127. 

„         and  hand  colouring,  199, 

257. 
„  foreshadowed  by  Sandby, 

107. 
„  patented   by    Senefelder, 

116. 
„  improved  by  Ackermann, 

116. 
„  the  immediate  successor 

of  aquatint,   11,  12. 
Little,  Thomas,  342. 
Little  Arthur's  History  of  England, 

230. 
Little  Sea  Torch,  275. 
Liverpool,  256. 
Lizars,  W.  H.,  296. 
Loggan,  David,  106,  i6o,  161. 
London,  261,  310,  311. 

„        George,  gardener  to  Charles 
IL,  164,  166,  171. 
Long  Acre,  290. 
Loire  river,  287. 
Loostroni,   History   of  the   Swedish 

Academy,  quoted,  45. 
Lord  Lyttletoris  Letters,  1 34. 
L^s  Caprichos,  75,  T]. 
lottery  of  Boydell's  prints,  267. 

„      for  Dr  Thornton,  290. 
Loudon,  J.  C,  153,  167,  174. 
Louis  XV.,  portrait  by  Le  Blon,  37. 
„     XVI.,  216. 

„     XVIII.,  his  entry  commemo- 
rated in  aquatint,  71. 
de  Loutherbourg,  P.  J.,  342,  343. 
Louvre,  44. 

Lovers  Labour's  Lost,  quoted,  1 58. 
Loyal    Volunteers    of    London    a?id 

Environs,  129,  224. 
Ludlow,  aquatint  by  Sandby,  109. 
Lugar,  Robert,  343. 


Luilly,  — ,  366. 
Luxborough,  Lady,  314. 
Lyall,  Robert,  228,  343. 
Lycett,  J.,  254,  343. 
Lydgate,  John,  162. 
Lyell,  Sir  Charles,  232. 
Lyrical  Ballads,  260. 
Lysons,  Samuel,  343. 
Lyttleton,  Lord,  134. 

M'Ardell,  James,  23. 
Macartney,  Lord,  85,  241,  249,  250. 
Macbeth,  Lady,  323. 
Macdonald,  Flora,  225. 
Machy,  Pierre  Antoine  de,  63. 
M'Keevor,  Thomas,  343. 
Mackenzie,  Fred.,  120,  125,  126,  151, 
366. 
Sir  G.  S.,  232,  343. 
M'Lean,  publisher,  305,  309. 
M'Leod,  John,  251,  343. 
Maddocks,  — ,  322,  366. 
Madeira,  239,  273. 
Magazine  of  the  Fine  Arts,  143. 
Mahratta  campaigns,  247. 
The  Maiden  Brief,  311. 
La  Main,  65. 
Major,  printseller,  158. 
Malay  Peninsula,  252. 
Malton,  Thos.,  junr.,  81,  183. 

„       Thomas,  32,  80,  92,  120,  147, 

182,  261,  263,  343. 
„       James,  9,  185,  262,  263,  343. 
Manby,  G.  W.,  343. 
Mansfield  Park,  quoted,  1 79,  249. 
Mansion-House  Ball,  311. 
Manskirsh,  Franz  Jozeph,  189,  191, 

224,  283,  366. 
Marat,  J.  P.,  71. 
Maratta,  Carlo,  32. 
Marceau,   Emira,  wife  of  A.  F.  Ser- 

gent,  69. 
Margate  Packet,  289. 
Marie  Antione,tte,  59,  71. 
Maria  Louisa  of  Spain,  75. 
Mariette,  — ,  36. 

The  Marigold  family  at  home,  311. 
Marks,  — ,  366. 
Marlow,  Bucks,  250. 
Marquant,  Mile.,  67. 
Marriage  d,  la  mode,  10 1. 
Martial     Achieve^nents     of     Great 

Britain  and  her  Allies,  224,  305. 
von  Martinitz,  Count,  32. 
Martyn,  — ,  286. 


INDEX 


423 


Mason,  Lieut.-CoL,  317. 

„       George,  on  gardening,  171 
„       Rev.  W.,  171. 

Mathison,  G.  F.,  255,  344. 

Matinde  du  Jour  de  fAn,  65. 

Maton,  W.  G.,  344. 

Matthews,  Charles  James,  146. 

Maatschappij  det  Weeten  Schappen 
(Haarlem),  48. 

Maximihan,  Prince,  344. 

Mayer,  Luigi,  14,  223,  234,  344. 

Mazel,  Peter,  291. 

medallion  portraits  in  aquatint,  72. 

Meditations  among  the  tombs,  298. 

Medland,  T.,  291,  366. 

Med  way  river,  illustrated,  271. 

Meli,  Giovanni,  245. 

Memoir  of  T.  Uurins,   265. 

Memoir  0/  Sicily,  245. 

Memoirs  of  John  Mytton,  309. 

Menuet  de  la  Marine,  64. 

Merchant  Taylor^  School,  126. 

Merigot,  J.,  145,  207,  208,  274,  297, 
321,  344,  366. 

Merke,  H.,  281,  367. 

metal  engraving,  fundamental  differ- 
ence from  wood  engraving,  21. 

iT/(?/^<7r^i783,aquatintbySandby,i09. 

Meteyard,  Eliza,  quoted,  86,  87. 

Method  of  learning  to  draw  in  Per- 
spective, 31. 

Metz,  Conrad  M.,  51,  53,  57,  344. 

Mexico,  242,  256,  257. 

Meyer,  Henry,  231. 

Meyer,  Konrad,  32. 

Meyrick,  Samuel  Rush,  320-322,  344. 

Mezzotint  engraving,  technique, 1 7- 1 9. 
„         and    colour    printing,    23, 

34,  yj,  38,  39,  222. 
„         and  aquatint,  in  the  Liber 

Studiorum,  94. 
„  used  by  Ploos,  49. 

„         used  by  G.  Baxter,  58. 

Microcosm,  or  a  picturesque  Delinea- 
tion of  the  Arts,  141. 

The  Microcosm  of  London,  or  London 
in  miniature,   121,    123,   124,   138, 

145,  307. 
Middleton,  J.  J.,  234,  344. 
Mieris,  W.  van,  53. 
Miles,  E.,  152. 

„     L.,  152,  344. 
Miletus,  aquatints  by  Sandby,  109. 
Military  adventures  of  Johnny  New- 
come,  305. 


Military  exploits,  illustrated,  243. 
Miller,  Wm.,  publisher,  141,  317. 
Milton,  John,  163,  169,  309. 

„      Thomas,  367. 
Minto,  Lord,  252. 
Miolkn,  Abbe,  61. 
Mission  from  Cape  Coast  Castle  to 

Ashantee,  238. 
The  Miseries  of  Human  Life,  319. 
Mitan,  S.,  120. 
Mitchell,  Robert,  345, 
Mitford,  John,  303,  304,  305. 
„        Mary  Russell,  303. 
mixed  processes,  56,  66,  72,  73,  207, 

291. 
Mode     of   Imitating    Drawing    on 

Copper  plates,  11. 
Modern    Discoveries  .  .   .   in    every 

quarter  of  the  Globe,  220. 
"  Modern  Mexico,"  exhibition,  256. 
de  Moleville,  Bertrand,  345. 
Mollien,  G.  T.,  345. 

„       J.,  240. 
monastic  gardens,  157. 
Monmouth  Church,  190. 
Monnier,  Henri,  200. 
Monro,  Dr,  92,  196,  201. 
de  Mont  d'Orge,  G.,  34. 
Montagu,  Earl  of,  106. 
de  Montalembert,  Mare  Ren^,  294. 
Monuments  de  Paris,  60. 
The  Moor  Guide,  319. 
Moor  Park,  Herts,  163. 
Moore,  C,  367. 

„       Sir  John,  226. 
„      Joseph,  345. 
de  More,  J.  J.,  345. 
Moravian  mission,  240. 
Morier,  James  J.,  240-242,  345. 
Morland,  George,  92,  221,  222,  272. 
Mornay,  — ,  227,  345. 
Morning,  210. 
Morning  Post,  221. 
Morris,  Richard,  345, 
Mortimer,  Dr  Cromwell,  35. 
Morton,  Henry,  345,  367. 
Moscow,  225,  227. 
Moses,  Henry,  367. 
Mouchy,  Louis  Philippe,  63. 
Mountain,  Mrs,  233. 
Mounting  Guard  at  St  James's  Park, 

124. 
Mudford,  Wm.,  223,  310,  345. 
Muhlbacher  collection,  61. 
Miiller,  J.  G.  V.,  317. 


424 


HISTORY  OF  AQUATINT 


Mulvane/s  Life  o/Gandon,  102. 

Munchausen,  Baron,  234. 

Munden,  J.  S.,  311. 

Murray,  John,  199. 

MuscologicE,  295. 

museum,  Bullock's,  256. 

Musgrave,  Lord,  131. 

La  Musicienne,  44. 

My  Pocket  Book;  or .  .  .  the  Stranger 

in  Ireland^  217. 
Mysore,  243,  244. 

Nagler,  G.  K.,  quoted,  29,  221. 
Naples,  aquatints  by  Sandby,  108. 
Napoleon,   51,   71,     137,     217,    218, 

231,  236,  251,309,310. 
Napoleonic  era,  illustrations  of,  217 

et  seq. 
Narrative  of  a  Journey  in  the  interior 

of  China,  265. 
Narrative  of  a  Voyage  to  the  Yellow 

Sea,  251. 
Nash,  Frederick,  120,  126,  149,  150, 

152,  345,  367. 
„     John  (architect),  145,  146,  148, 

149,  151,  181,207,  345. 
„      Joseph,  146,  149. 
National  Art   Library,    South   Ken- 
„  sington,    3,    41,    53,    Ti, 

78,  126,  142,  150. 
„         Gallery,  95. 
„         Portrait  Gallery,  203,  254. 
National  Sports  of  Great  Britain, 

309. 
Natte,  — ,  141. 

Nattes,  John  C,  269,  274,  345,  346. 
Natural  History  Museum,  239. 

„  ,,        in  aquatint,  289^/j^^. 

Natural  History  of  Fuci,  295. 
Naval  Achievements  of  Great  Britain, 
224. 

„       and  Military  Exploits,  \\. 

„       Records:  Engravings  of  En- 
gagements at  Sea,  236. 
Naylor,  Sir  George,  147,  330,  346. 
Neale,  John  P.,  367. 

„      S.  J.,  223,  367. 
Neapolitan  Dance,  aquatint  by  Sand- 
by,  109. 
Nelson,  Lord,  114,  222. 
Nelson's  Funeral  Procession,  130. 
Netscher,  Conrad,  53. 
The  New  Age,  310. 
New  Amsterdam,  254. 
New  Bath  Guide,  193. 


New  Drawing  Book  of  Light  and 
Shadow,  190. 

New    Drawing    Book,     comprising 
Groups  of  Figures,  etc.,  191. 

New  Forest,  Hants,  259. 

New  Illustration  of  the  Sexual  System, 
of  Linnceus,  etc.,  290. 

A  New  Method  of^  Drawing  Original 
Landscapes,  195. 

A  New  Method  of  Multiplying  of  Pic- 
tures by  a  Natural  Colleris,  etc.,  33. 

New  Monthly  Magazine,  128. 

New  Orchard  and  Garden,  159,  162. 

New  Principles  of  Gardening,  173. 

New  South  Wales,  283. 

New  Zealand,  254. 

Newcome,  Colonel,  243. 

Newell,  Rev.  R.  H.,  346. 

Newmarket,  289. 

Newton,  Sir  Isaac,  32. 

Nicholson,    Francis,    183,    185,    192, 
198-200,  346. 
„  Wm.,  224,  346. 

Nightingale,  T.,  346. 

Nile,  Battle  of  the,  in  aquatint,  222. 

Nilgherry  hills,  249. 

"Nimrod"  =  C.  J.  Apperley. 

Niobe,  267. 

Noble,  Thos.,  188,  346. 

Noces  au  Chateau,  65. 

Noces  de  Village,  63. 

Nodes  AmbrosiancE,  248. 

NoUekens,  Jos.,  290. 

Nonesuch,  Surrey,  162. 

Normandy,  276. 

North  America,  255,  256. 

North  Wales,  aquatints  by  Sandby, 
108,  109. 

North,  Christopher,  249. 

Northanger  Abbey,  quoted  312. 

A  Northern  Summer,  218. 

Northington,  Lord,  154. 

Norway,  229,  268. 

Norwich,  153,  154. 

Nottingham,  98. 

„  exhibition     of    Sandby 

pictures,    1884,    108. 

Obsefvations  . . .  on  the  Lakes  of  Cum- 
berland and  Westmoreland,  260. 

Observations  on  Landscape  Garden- 
ing, 90. 

Obsef  vations  on  the  Theory  and  Prac- 
tice of  Landscape  Gardening,  156. 

Observations  de  t Hist.  Naturelle,  sur 
la  Physique  et  sur  la  Peinture^  38. 


INDEX 


425 


Observations  sur  la  Peinture,  38. 

Of  Gardens,  158. 

O  Fortunatus  Nhntum,  44. 

Ogbome,  J.,  291. 

Old  Bailey,  123. 

Old  masters,  aquatint  reproductions, 

52-58. 
Old  English  Dresses,  315. 
Tlie  Old  English  Squire,  305. 
Omai  in  London,  315. 
LOpirateur,  59. 
Opie,  John,  291. 
Orange,  Prince  of,  50. 
Oriental  Annual,  245. 

„       Drawings,  246. 

„       Field  Sports,  2?,i,  2Z2. 

„       Gardening,  170. 

„       Memoirs,  293,  294. 

„       Scenery,  95,  244. 
Original  Designs  of  the  most   Cele- 
brated Masters,  etc.,  56. 
Orleans,  287. 
Orme,  Daniel,  243. 

„      Edward,    186,    188,    220,    243, 

246,  281,  282,  284,  346. 
„      Robert,  243,  244. 
„      William,  243. 
Ostade,  Adriaen  van,  48,  53,  60. 
Ostell,  T.,  205. 
Ostervald,  J.  F.,  18. 
Otaheite,  254. 
Ottley,  W.  Y.,  96. 
Oude,  Nabob  of,  320. 
Ouseley,  Sir  Gore,  241. 
von  Overbeck,  Bonaventura,  32. 
Owen,  S.,  91,  268.  ,  ,1"^ 

Oxford,  125,  126,  160,  262,  274,  3*-i. 
Oxford  Abnanack,  161. 
Oxford  Delineated,  274. 
Oxonia  illustrata,  160. 

Pain's  Hill,  Cobham,  173. 

Palais  Royal,  aquatints  of,  64. 

Pall  Mall,  art  gallery  by  Boydell,  267. 

Pallas,  P.  S.,  220,  221,  225,  269,  347. 

Palmerston,  Lord,  248. 

Palmer,  Samuel,  202. 

Palmerston,  Lord,  86. 

Palser,  T.,  printseller,  209. 

Panorama  of  the  Thames,  270. 

A  panoram.ic   view    of  the    city    of 

Rome,  etc.,  270. 
Paoli,  Pasquale  de,  229. 
Papworth,   John    B.,    114,    119,    125, 

143,  144,  145,  181,  314,  347. 


Papworth,  Wyatt,  125. 
Paradise  Lost,  162,  169. 
Paris,  60,  218,  274,  287. 

„      and  V.  Biblioth^que  National. 
Parkyns,  G.  J.,  347,  367. 
Parr,  Dr  Samuel,  135. 
Parry,  Sir  William  Edward,  255,  347. 
Pars,  Henry,  in,  140. 

„     Will.,  80,  86,  103,  108,  109,  182. 
Parthenon,  the,  232. 
Pasche,  Lorenz,  45. 
Pasquin,  Peter,  347. 
Pastorals,  291. 
Pastorini,  Benedetto,  56. 
patent  for  weaving  tapestry,  35. 
patent  for  colour  printing,  33. 
Paul  et  Virginie,  illus.  in  aquatint,  63. 

„  „  „     by  Guyot,  68. 

Paul,  Thomas,  jun.,  103. 

„     Czar,  318. 
Pausanias,  232. 

payment  of  aquatintists,  233  n. 
Payne,  Sir  Ralph,  85. 

„        William,  196,  197. 
peace  of  Amiens,  293,  207,  315. 
Peacock,  Thos.  L.,  175. 
Peake,  R.  B.,  319,  347,  367. 
Peele,  J.,  31. 
A  Peep  at  the   Gas  Lights  in  Pall 

Mall,  115. 
Pekin,  gardens,  170. 
Penang,  252. 
Pennant,  Thos.,  83. 
La  Penserosa,  109. 
Perceval,  Lady,  303. 
Lord,  33. 
Peregrine  Pickle,  299. 
Perry,  George,  297,  347. 
Persepolis,  227. 
Persia,  240,  241,  242. 
Peter  Pindar,  1 38. 
Peter  Sifnple,  304. 
Peter  the  Great,  193. 
Pether,  William,  291. 
Peu  Qua,  of  Canton,  317. 
Philosophical   Disquisitions    on    the 

Beautiful,  177. 
Philosophical  Transactions,  quoted,3  5 . 
Phillips,  G.  F.,  206,  347. 
Phipps,  Constantine,  2nd  Lord  Mul- 

grave,  84. 
photogravure,  aquatint  basis  of,  11. 
Piccadilly,  301. 
Pickering,  Yorkshire,  198. 
Pickett,  William,  347,  36 


426 


HISTORY  OF  AQUATINT 


Picture  Office  Company,  33,  34. 
Picturesque  and  Descriptive  Views  of 

the  City  of  Dublin^  263. 
Picturesque  Description  of  the  River 

Wye,  276. 
Picturesque  Guide  to  Bath,  271. 
A    Picturesque    Illustration    of   the 

Scenery,   Animals,  etc.,  of  Ceylon, 

245. 
A  Picturesque  Representation  of  the 

Manners  .  .  .  of  the  Russians,  318. 
Picturesque  Rides,  and  Walks  .  .  . 

round  the  British  Metropolis,  272. 
Picturesque  Scenery  in  the  Kingdom 

of  Mysore,  244. 
Picturesque  Scenery  of  Norway ,  229, 

268. 
A  Picturesque  Tour  through  the  Cities 

of  London  and  Westminster,   261, 

262,  263. 
Picturesque    Tour    of    the    English 

Lakes,  129,  275. 
A  Picturesque  lour  from.  Geneva  to 

Milan,  129,  229, 
A  Picturesque  Tour  through  Holland 

Brabant,  and  part  of  France,  271. 
Picturesque       Tour      through       the 

Pyrenean  Mountains,  229. 
Picturesque  Tour  along  the  Rivers  I 

Ganges  and  fumna,  248. 
Picturesque  Tourof  the  River  Thames, 

268,  269. 
Picturesque  Views  of  Noblemeris  and 

Gentlemeris  Seats,  151,  264,  265. 
Picturesque  Views  of  .  .  .  Northum- 
berland, 121. 
Picturesque    Views    of  the     city    of 

Oxford,  262. 
Picturesque  Views  in  Paris,  92. 
Picturesque  Views  of  Paris  and  its 

Environs,  150. 
Picturesque     Views    on     the    River 

Avon,  271. 
Picturesque  Views  on  the  River  Med- 

way,  271, 
Picturesque     Views    on     the    River 

Severn,  271. 
Picturesque    Views     on     the     River 

Thames,  271. 
Picturesque  Views  on  the  River  Wye, 

271^ 
A  Picturesque  Voyage  to  India  by  the 

way  of  China,  244. 
the     "  picturesque     writers,"     Price, 

Knight,  Gilpin,  175. 


Pierce  Egan^s  Life    in  London  and 

Sporting  Guide,  308. 
Pilgrims  of  the  Thames  in  Search  of 

the  National,  308. 
The  Pillory,  1 23. 
Piranesi,  Giovanni  Battista,  92. 
Pitt,  Rt.  Honble.  William,  131. 
Planch^,  J.  R.,  313,  322. 
Piatt,  — ,  367. 
Plaw,  John,  347. 
Ploos  van  Amstel,  43,  46-50. 
Plofs  Staffordshire,  175. 
Plymouth,  321. 
The  Poacher's  Progress,  284. 
Pocket-books  and  Keepsakes,  118. 
Pocock,  Nicolas,  236. 
Pocock,  W.  I.,  236,  237,  347. 
Polar  voyages,  255,  256. 
Pollard,  R.,  64 
La  Pode,  44. 

Poetical  Magazine,  128,  131. 
Poetical  Sketches  of  Scarborough,  144. 
politics  and  caricature,  301. 
Pomona  Britannica,  295. 
Pompeii,  illustrated,  234. 
Pond,  Arthur,  58. 
Pope,  Alexander,  122,   166,  167,  168, 

298,  301. 
Port  Jackson,  273. 
Portalis,  R.,  quoted,  39,  62,  63. 
Porter,  Jane,  226. 

Porter,  Sir  R.  K.,  225-227,  242,  347. 
portraiture  in  aquatint,  70-73. 
Portugal,  319,  320. 
Post  Captain,  or  adventures  of  a  true 

British  Tar,  305. 
The  Post- Office,  124. 
Potter,  Paul,  52. 
pottery,  Wedgwood's,  86,  87. 
Pouqueville,  F.  C.  H.  L.,  348. 
Poussin,  Nicolas,  173. 
Pownall,  Thomas,  100. 
Practical    Directions  for   Learning 

Flower-Drawing,  214. 
A  Practical  Essay  on  Colouring  and 

Painting  Landscapes,  185. 
Practical  Geometry,  141. 
A   Practical  Illustration  of  Giipiris 

Day,  187. 
Practical  Perspective  exemplified  in 

Landscape,  188. 
Practical  Treatise  on  Drawing  and 

on  Painting  in  Water  Colours,  zdb. 
The  Practice  of  Drawing  and  Paint- 
ing Landscape,  199,  200. 


INDEX 


427 


Praun,  Paul,  57. 

Precepts  of  Landscape  Drawing,  203. 
Prestel,  Johan  Gottlieb,  57,  59. 
Price,  Uvedale,  168,  175,  176,  177. 
Pride  and  Prejudice  quoted,  225,  300. 
f he  Principles  0/ Effect  and  Colour,  206. 
printing  a  lapoupe'e,  22,  28. 
Printing-House  Square,  133. 
printselling  and  caricature,  301  et  seq. 
Prior,  James,  348. 
prize-fight,  311. 
Professional    Sketches    of     Modern 

Artists,  193. 
Promenade  des  fardins  de  Chantilly, 
207. 
„  ou  Itiniraire  des  fardins 

d^ Ennenonville,  207. 
„  de  la  Galerie  du  Palais 

Royal,  64,  65. 
„  Publique  des  fardins  du 

Palais  Royal,  65. 
Prout,  Samuel,    116,    148,   151,    185, 
209  348,  367. 
„  „         notice  of,  203  et  seq. 

Proverbios,  76. 
Public  Schools,  129. 
Pugh,  Edward,  278,  348,  368. 
Pugin,  Augustus,  120,   121,  122,  123, 
124,  125,   126,   149,  151,  152,  207, 
274,  368  ;  notice  and  anecdotes  of, 
145-147. 
Pugin,  Augustus  Welby,  146. 
Punch,  311. 

The  Punishments  of  Chirui,  317. 
Pyall,  H.,  368. 
Pye,  John,  88,  96. 

Pyne,  W.  H.,  notice  of  him,  140-143  ; 
other  refs.,  81,  120,  121,  128,  139, 
189,   190,   191,  193,  195,  220,  259, 
3^7,  318,  348,  368. 
Pyrenees,  229, 

Quarterly  Review,  quoted,  242. 
QuiUey,  J.  P.,  368. 
de  la  Quintinye,  Jean,  164,  167. 
Quiz,  Peter,  348. 

Rabelais,  R.,  348. 

Raccolta  di  cento  pensieri  diversi  de 

A.D.G[abbiani\  54. 
racing  incidents,  288. 
Raffles,  Sir  Thos.  S.,  252,  348. 
Ralfe,  James,  348. 
Rameses  II.,  235. 
Ramsay,  Allan,  100,  348. 


Ramsgate,  280. 

Raphael,  Sanzio,  172. 

Rapin,  Ren^,  164. 

Rawlins,  T.  J.,  368. 

Rawlinson,  W.  G.,  94,  96,  97. 

Rawstome,  Lawrence,  348. 

Raye,  Charles,  349. 

Read,  W.,  368. 

Reading,  Berks,  263. 

Real  L^e  in  London,  305,  307,  310. 

Recherches  sur  les  Costumes  et  sur  les 

ThMtres de  toutes les  Nations, 70,71. 
Recollections  of  a  Classical  Tour,  234. 

„  of  the  Pugins,  146,  148. 

Ricriation  Champetre,  44,  46. 
Recueil  de  Griffonis  de  vues,  etc., gravis 

tant  d.  Feauforte  qu^au  lavis,  41. 
Recueil  de  Testes  de  Caractkre  et  de 

Charges dessinees par L. da  Vinci, ^'■f. 
Redgrave,  R.  and  C,  78,  182,  196,  265. 
Reeve,  A.  W.,  368. 
Reeve,  R.  G.,  142,  269,  368. 
Reeves,  artists'  colourman,  106,  192. 
Regent's  Park,  149. 
Regent  Street,  148,  149. 
registration  marks,  24,  34,  62. 
Reinagle,  P.,  287,  291. 
Reinhardt,  J.  C,  368. 
reissue  of  worn-out  prints,  108. 
Remarks  on  Forest  Scenery,  259. 

„         „   Several  Parts  of  Turkey, 

234- 
Rembrandt,  H.  van  Rijn,  25,  26,  28, 

51,  53- 

Reminiscences,  138. 

Repository  of  Arts,  Strand,  112,  114, 
119,  144. 

Repository  of  Arts,  Literature,  Com- 
merce, Manufactures,  Fashions,  and 
Politics,  127,  128,  316. 

Repository  of  the  Fine  Arts,  112,  113, 
114,  116,  121,  144,  150. 

Repton,  H.,  90,  151,  153,  268,  349. 
„       J.  A.,  151,349. 
„       John,  153. 

Restif  de  la  Bretonne,  69. 

Retaliation,  306. 

Retired  Gardener,  166,  167. 

Revett,  Nicholas,  232. 

7"^!?  Review  of  Publications  of  Art,  95. 

Revue  Britannique,  quoted,  287. 

Reynolds,  Sir  J.,  315. 

Rhine,  the,  230. 

Richards,  Wm.,  349. 

Richardson,  George,  349. 

P 


428 


HISTORY  OF  AQUATINT 


Richardson,  T.  M.,  121,  349,  369. 

Richmond  Park,  171. 

Ride,  — ,  69,  70. 

Rigaud,  Jean  Francois,  73. 

Rijks  Museum,  27. 

Rimmell,  Eugene,  112. 

The  Rise  and  Progress  oj  IVater- 
Colour  Painting  in  England^  195. 

Ritratti  de^  Pittoriy  39. 

Rivers  of  England,  285. 

La  Rixe,  63. 

Robert,  pupil  of  Le  Blon,  36. 
„       Hubert,  42,  59. 

Roberts,  Percy,  369. 

„         Rev.  Peter,  278,  349. 

Robertson,  Archibald,  349. 
„  David,  349. 

„  William,  350. 

Robespierre,  7 1 . 

Robinson,  Henry  C,  quoted,  133, 135. 

Robson,  G.  F.,  350. 

Roche,  Hamilton,  350. 

Roffe,  John,  369. 

Roger,  — ,  60. 

Rogers,  B.,  350. 

Roget,  J.  L.,  quoted,  161,  195,202. 

Rome,  29,  109. 

Rooke,  H.,  369. 

Rooker,  Edward,  100. 

„       Michael  Angelo,  100, 104, 106, 
182. 

Za  Rose,  65. 

Rose,  — ,  gardener  to  Charles  II., 
164,  167. 

Rosebery,  Earl  of,  287. 

Rosenberg,  Michael,  350,  369, 

Ross,  Capt.  J.  C,  255,  350. 

Un  Roui  Vertueux,  44. 

Rouen,  287. 

roulette  work,  46,  49,  62. 

Roundabout  Papers,  307. 

Rouse,  J.,  369. 

Rousseau,  J.  J-,  260. 

Rowlandson,  Thomas,  64,  80,  115, 
117,  120,  121,  122,  123,  124,  128, 
129,  130,  131,  135,  136,  144,  224, 
225,  283,  300,   302,  304,  305,  307, 

309.350,  369- 
Rowlandson,  Thomas,  his  career  and 

his  friends,  136  et  seq. 

Royal  Academy,  80, 1 01, 102,  140,  147, 

149,  226,  244,  261, 

271,275,276,290,315. 

„  „       club,  103. 

Royal  Cockpit  in  Birdcage  IValk,  123. 


Royal  Hospital,  Chelsea,  1 24. 

The  Royal  Institution,  1 24. 

Royal  Military  Academy,  103. 

Royal  Naval  Service  of  England,  152. 
„     Residences,  147. 

Rudiments  of  Drawing,  .    .    ,   and 

Colouring  Flowers  in 

Water  Colours, 26'^,2()7 . 

„        of  landscape  Drawing, 

142,  191. 

The  Rudiments  of  Landscape  in 
Progressive  Studies,  etc.,  204. 

Rugby  School,  126. 

Rural  Residences,  181. 

Ruskin,  John,  quoted,  21,  94,  260. 

Russell,  — ,  291. 

Russell,  G.,  350. 

Russia,  44,  87,  181,  221,  225,  226, 
227,315,318,319. 

Rutter,  John,  351. 

Ruysdael,  Jacob,  25. 

Ryland,  W.  W.,  23,  106. 

St  A  nthony  preaching  to  the  Fishes,  306. 
de  St  Aubin,  Augustin,  69. 
„  Madame,  71, 

St  Augustine's,  Canterbury,  aquatints 

by  Sandby,  109. 
St  Clair,  Colonel  T.  S.,  223,  351. 
St  Clement  Danes  church,  172. 
St  Cloud,  garden  of,  164. 
St  Denis,  274. 
St  Giles  in  the  Fields,  304. 
St  Helena,  218,  235,  236,  237-239. 
St  fames' s  Palace,  142. 
St  James's  Park,  164. 
St  Martin's  Lane  Academy,  266. 
St  Non,  Jean  C.  R.,  41,  42,  43,  59. 
St  PauPs  Cathedral,  126. 
St  Paul's  Cathedral,  313. 
St  Petersburg,  226,  227,  228,  319. 
St  Quentin,  — ,  59. 
St  Sauveur,  A.  G.  de,  351. 
St  Vincent,  battle  of,  in  aquatint,  222. 

„         Lord,  222. 
Sadler's  Wells,  307. 
Salami,  Abraham,  351, 
van    Salisch,     General,  governor    of 

Breda,  33. 
Salt,  Henry,  234,237,  351. 
Sams,  W.,  305,  351. 
Sandby,  Thomas,  98,  99,  102. 

„  Paul,  2,  11,12,  13,  15,79,80, 
86,  94,  98-109,  182,  196, 
234,  262,274,  351,  369. 


INDEX 


429 


Sandby,  William,  105. 

San  Fernando,  Academy  of,  76,  77. 

Sanson,  Nicolas,  369. 

Sardinia,  246. 

satirists,  eighteenth  century,  298,  299. 

Saundby,  N  otts,  98. 

Sauvan,  M.,  351. 

Savoy  Buildings,  112. 

Sayer,  James,  369. 

Sayre,  —,301. 

Scarborough,  144,  145. 

„  Lord,  102. 

Scenery,  Costumes,  and  Architecture 

.  .  .  of  India,  121,  248. 
Schall,  Joseph,  63. 
de  Scheffer,  Baron  Ulric,  45. 
Schenk,  Peter,  early  experiments  in 

colour  printing,  29,  30. 
Schiavonetti,  Luigi,  56. 
Schmidt,  Gerard  Joachim,  57. 
Schneeberg,  Saxony,  iii. 
Schreuder,  Bernaert,  50,  53. 
Scotland,  99,  286. 
Scott,  John,  351. 

„      Sir  Walter,  178,  242,  251,  280, 
306,  319. 
The  Scourge,  304. 
Scutari,  227. 
Sea  Fights,  91,  236,  243. 
Sea-gulls     at     Southampton,     illus. 

Frontispiece. 
Second  Journey  to  Persia,  242. 
Seeley,  — ,  351. 
Segard,  — ,  369. 
Seghers,  Hercules,  early  experiments 

in  colour  printing,  24  et  seq. 
Select  Views  in  the  S.  of  France,  231. 
„  in  India,  247. 

„  of  London,  144. 

Selection  of  Hexandrian  Plants,  297. 
„        of  Twenty  Views  in  Paris, 
218. 
A    Selection    of   Views    in    Egypt, 

Palestine,  etc.,  223. 
Selections  of  the  Ancient  Costume  of 

Great  Britain  and  Ireland,  321. 
Semple,  Miss,  351. 
Senefelder,  Alois,  1 16. 
Les  Sens,  45. 

Sense  and  Sensibility,  quoted,  1 76. 
Sentimental  Journey,  300. 
Sergent,  Antoine  Francois,  23,  68-70. 

„        E.  {nie  Marceau),  69. 
A  Series  of  Easy  Lessons  in  Land- 
scape Drawing,  205. 


A  Series  of  Picturesque  Views  of  the 
River  Thames,  264,  265. 
„        of  Progressive  Lessons   in 
Water  Colours,  210, 
Seringapatam,  237. 
Serres,  Dominic,  274,  352. 
„       J.  T.,  274,  275,  352. 
Severn  river,  271. 
Shakespeare  Gallery,  267,  268. 
Sheerness,  269. 

shells  illustrated  in  aquatint,  297. 
Shenstone,  W.,  168,  314. 
Shepheard,  George  W.,  352. 
Shepherd,  G.,  125. 
Sheridan,  R.  B.,  193,  194. 
Shew,  Thomas,  270,  352. 
Shipley,  Wm.,  in,  112,  248. 
The  Shipwreck,  285. 
Shoberl,  Frederick,  118,  120,  127-129, 

229,  351. 
Short,  Frank,  210. 

Shrewsbury,  aquatint  by  Sandby,  108. 
Shury,  T.,  369. 
Sicily,  245,  246. 
Sicklemore,  C.  L.  R.,  352. 
Sidney,  Sir  Philip,  162. 
Simond,  Louis,  276,  352. 
Singer,  Hans  W.,  quoted,  6,  36,  49. 
Six  fiionth^  residence  and  travels  in 

Mexico,  256. 
Sketches  and  Hints  of  Landscape  Gar- 
dening, 268. 
„        of  Portuguese  Life,  manners, 
customs,  and  charcuter,  319. 
„        in  Corsica,  230. 
sketching  tours  in  England,  215,  258. 
Slade,  Adolphus,  352, 
Smart,  — ,  369. 

Smith,  Colonel    Charles    Hamilton, 
320,  321,  352. 
„      John,  known  as  "Italian"  or 
"Warwick"  Smith,  86,  352. 
„      John,  his  book  on  colouring 

maps  and  prints,  31. 
„      J.  E.,  352. 

„      J.  T.,  102,138,192,250,289,352. 
„      John  Raphael, 32,5 1, 88, 90,  92. 
„      Capt.  Robert,  352. 
„      Sir  Sidney,  353. 
Smithfield  Drover,  142. 
Smollett,  Tobias,  193,  299,  300,  312, 

352. 
Smyrna,  241. 

Smyth,  William  Henry,  245,  246,  352. 
Snodgrass,  Major,  353. 


430 


HISTORY  OF  AQUATINT 


Soane,  Sir  John,  353. 

„       Museum,  235,  248. 
Society  of  Antiquaries,  1 50. 

„       of  Arts,   III,   184,   192,    193, 
199,  270. 
soft  ground  etching,  142,  204. 

„  „        in     combination 

with    aquatint, 

7,  97. 

„  „         used   by    Girtin, 

93,  and   by  F. 

Nicholson,  199. 

„  „        specimen  iilus.,  6. 

„  „        description  of,  7. 

Soho   Square,    Dr  Barrow's  School, 

136. 
Soldiers  sleeping  near  the  prison  of 

St  Peter,  45. 
Soldiers'    encampments,   coloured 

prints  of,  107. 
Soldiers  in  uniform,  v.  Loyal  Volun- 
teers. 
Solitary  Gardener,  167. 
Somerset  House  Gazette,  81,  139,  143, 
193>   I95»  202,  220,  226,  228,   264, 
266,  267,  289. 
Somerville,  William,  244. 
Sotheby,  WiUiam,  353. 
South  America,  239,  293. 

„     Kensington,  v.  Nat.  Art.  Lib. 
„    Sea  Bubble,  301. 
„      „    Islanders,  254. 
South   Wales,  aquatints  by  Sandby, 

108,  109. 
Southey,  R.,  273. 
Southwark,  269. 
Spain,  76,  229. 
Specimens    of    Gothic  Architecture, 

146,  151. 
Spectator,  quoted  on  gardens,  167. 
Speculutn,    or  Art  of  Drawing  in 

Water-Colours,  211. 
Spence,  Joseph,  170. 
Spenser,  Edmund,  162. 
Spilsbury,  F.  B.,  240,  353. 
"spirit-ground,"  13,  14,  71,  106. 
sport  illus.  in  aquatint,  281  et  seq. 
A  Sporting  Tour  through  France,2?>6. 
A   Sporting  Tour  through  the  nor- 
thern parts  of  England  .  .  .  and 
Scotland,  285. 
Stadler,  J.  C,  12,  95,  120,  126,  144, 
180,  227,  233,  240, 25s,  268,  291,  369. 
stained  drawings,  80,  81,  82,  182. 
Stanley,  John,  151. 


Staunton,  Sir  George,  85. 
Stenographia   Graphica,   or  writing 

down  colours,  189. 
Stephanoff,  J.,  56,  142. 
Sterne,  Laurence,  130,  134,  353. 
Stewart,  Dugald,  177. 
stipple,  125,  127,  128,  148,  295. 

„      used  by  J.  van  de  Velde,  40. 
„      used  for  books  on   costume, 
„  141  ;   for  books  on  natural 

history,  214,  295. 
„      and  colour-printing,  23. 
„      by  J.  Agar,  151  ;   by  C.  M. 

Metz,  56. 
„      used   in  reproduction  of  old 
masters,  55. 
Stock  Exchange,  311. 
Stoddart,  John,  353. 
Stoker,  W.,  293,  369. 
Stolberg,  Saxony,  no. 
Stones  of  Venice,  246. 
Storming  of  Seringapatam,  226. 
Stothard,  Charles,  300,  370. 

„        Mrs,  353. 
Stourton,  Lord,  287. 
Stowe,  Bucks,  171,  172,  174. 
Strabo,  232. 
Strachey,  Lady,  297. 
The  Stranger  in  Ireland,  218. 
The  Stranger  in  France,  217,  218. 
Strawberry  Hill,  314. 
Struenzee,  Count,  302. 
Stuart,  James  ("  Athenian  "),  83,  232. 

„      Miss,  138. 
Stuttgart,  317. 
Suenos,  76. 
Suite      d'habillements      de     diverse 

nations,  44. 
Suite  de  coiffures   designees  d'aprh 

nature,  44. 
Sullivan,  Dennis,  353. 
Sup>plement  to  tJie  Treatise  on  Flower 

Painting,  296. 
Suse,  242. 

Sustead,  Norfolk,  154. 
Sutherland,  Thomas,  120,  142,  224, 

248,  270,  291,  370. 
Svinine,  Paul,  353. 
Swainson,  Dr,  240. 
Swansea,  130,  148. 
Sweden,  226,  315,  317. 
Swift,  Jonathan,  298,  309. 
Switzer,     Stephen     (gardener),     167, 

171,  175- 
Sylva,  164. 


INDEX 


431 


Syme,  Patrick,  214,  295,  296. 
Symons,  Arthur,  55. 
Symptoms  of  being  amused^  309. 
Dr  Syntax,  v.  Doctor. 

Le  Tambourin,  63. 

tapestry  factory  at  Chelsea,  35. 

Tardieu,  P.  F.,  engraver,  36. 

Taschenbuck,  introduced  by   Acker- 
mann,  118. 

Tslsso^s  Jerusalem  Delivered^  loo. 

Tattersall's,  311. 

Taunay,  Nicolas  Antoine,  63. 

Tauromaquia,  77. 

Taverner,  William,  79. 

technical  processes  in  painting  de- 
fined, 78. 

Teheran,  227,  241,  242. 

tempera,  79. 

Temple,  Lieut.  R.,  353. 
„        Sir  William,  163. 

Teniers,  David,  299. 

Tennyson,  Alfred,  118. 

Testard,  F.  M.,  370. 

Testolini,  G.,  213,  297,  353,  370. 

Teyler,  Johannes,  his  rare  Opus  Typo- 
chrotnaticum  described,  28,  29. 

Thackeray,  W.  M.,  123,  228,  302,  307, 

309- 
Thames  river  scenery,  85,  264,  266, 

268,  269,  271,  272,  308. 
The  Thames^  by  W.  B.  Cooke,  269. 
Thelwall,  John,  112, 
Thomas  and  Frank    Sandby,  their 

Lives  and  Works,  105. 
Thomas  Girtin,  his  Life  and  Works, 

93. 
Thomas  Rowlandson  (F.  Grego),  136. 
Thompson,  Henry  Yates,  124. 
Thomson,  James,  poet,  168,  353. 
Thorn,  Major  Wm.,  353. 
Thornbury,  W,,  194. 
Thornhill,  R.  B.,  354. 
Thornton,  Bonnell,  290. 

„        R.  J.,  290,  291,  354. 

„        Colonel  Thomas,  285-289, 

354- 
„         Mrs,  288,  289. 
„         William,  285. 
Thornville-Royal,  Yorks,  285,  286. 
Three  months  passed  in  the  Moun- 
tains east  of  Rome,  230. 
Through  England  on  a  Side-Saddle  in 
the  Time  of  William  and  Mary,  166. 
Timms,  — ,  354,  370. 


Timperley,  C.  H.,  quoted,  304. 

Tingle,  J.,  370. 

Tinted  drawings,  a  development  of 

stained  drawings,  182,  183. 
tinted  drawing  the  precursor  of  water- 
colour  painting,  78,  80,  81,  82,  182, 
183. 
tinted  paper  used  by  H.  Seghers,  27. 
Tippoo  Sahib,  237. 
Titian,  56,  172. 
Titsingh,  Isaac,  56,  128. 
Tom  and  Jerry,  307. 
„    Raw,  the  Griffin,  308,  320,  334. 
„     Thumb,  298. 
Tomkins,  Charles,  354,  370. 

„        P.  W.,  56,  233,  291,  370. 
Toms,  W.  H.,  266. 
Tooke,  William,  229,  354. 
topographical  draughtsmen,  82-85, 89. 
„  drawing  in  fashion,  83, 

88,89,  151- 
„  illustrations    of    Eng- 

land, 258  ^/  seg. 
„  of  foreign  lands,  215  ^/ 

seg. 
Topography  of  Troy  and  its  Vicinity, 

232. 
topography,  illus.  in  aquatint,  2,  5. 
A  Touch  at  the  Fine  Arts,  309. 
Tour  of  Doctor  Syntax,  128. 
„     of  the  Grand  Junction,  272. 
„     of  the  High  Pyrenees,  229. 
„     of  the  Isle  of  Wight,  271. 
„     through  Cornwall,  260. 
„     through  Holland,  218. 
touring  and  sketching,  84-86,  215. 
Tower  of  London,  98,  322. 
Tracts  relative  to  the  island  of  St 

Helena,  237. 
Trafalgar,  battle  of,  in  aquatint,  222. 
travel  books  illustrated,  2,  5,  127,  215 

et  seg. 
Travelling  Sketches  in  Russia  and 

Sweden,  227. 
Travels  in  Africa,  220. 

„       in  the  Interior  of  Africa,  240. 
„       in  the  Interior  of  Southern 

Africa,  239. 
„       through  the  Canadas,  229. 
„       in  China,  249. 
„       in  Egypt,  202. 
„       in  France  in  1787,  1788,  and 

1789,  219. 
„       in  Georgia,  Persia,  Armenia. 
Ancient  Baby  lonia,227, 2^2. 


432 


HISTORY  OF  AQUATINT 


Travels  in  Iceland,  232, 

„       in  the  Southern  Provinces  of 
the  Russian  Empire,  220, 
225,  269. 
„       through  part  of  the  Russian 

Empire,  etc.,  227. 
„       in  the  South  of  Spain,  223. 
Treasury  Buildings,  Whitehall,  172. 
A  Treatise  on  Ackermann's  Superfine 

Water  Colours,  etc.,  185. 
Treatise  on  Flower  Painting,  295. 
A    Treatise  on  Landscape  Painting 

and  Effect  in  Water  Colours,  209. 
A  Treatise  on  the  Principles  of  Land- 
scape Design,  etc.,  81,  202. 
Treatise  on  the  use  of  Indian  Inks 

and  Colours,  189. 
Troilus  and  Cresside,  162. 
A  true  report  of  the  gainefull  voyage 

to  Java,  252. 
Trichinopoli,  247. 
Troas,  aquatints  by  Sandby,  109. 
Troost,  Cornelius,  47. 
Troy,  232,  233. 
Trusler,  Dr,  55. 
Truter,  — ,  244. 

Tudor  gardens,  157,  158,  160,  166. 
TuUy,  Richard,  354. 
Tunbridge  Castle,  aquatint  by  Sand- 
by,  109. 
Turner,   Charles,  96,  281,  283,  284, 
285,  354,  370. 
„        Dawson,  294,  295,  355. 
„        Mrs,  295. 

J.  M.W.,  32,  81, 90, 91, 92,  94, 
95,96,97,107,147,183,185, 
201 ,  206,  262,  284,  285,  318. 
Turkey,  234,  241,  317. 
Twelve  Views  of  Places  in  the  King- 
dom of  Mysore,  243. 
Twelve   Views  of  the  Antiquities  of 

England,  150. 
Twenty-four    Views    in   Hindustan, 

244. 
Twenty-four  Views  in  St  Helena  and 

Egypt.  235,  236. 
Twickenham,  Pope's  house  at,  168. 
Tzarskoselo  Palace,  87. 

Ulysses,  233. 

Unconnected  thoughts  on  Gardening, 

168. 
United  Service  Club,  149. 
Unwin,  T.,  125. 
Upcott,  William,  3. 


Utrecht,  51. 

Uwins,  Thomas,  150,  265. 

Valentia,  Lord,  235. 

Valparaiso,  230. 

van  de  Velde,  Jan,  40. 

Vanity  i^«/r  quoted,  192. 

de  Varennes,  Marquis,  French  emi- 
grant in  London,  63. 

Varley,  John,  81,  82,  183,  185,  193, 
278,  355- 
„  „     his  artistic  career,  201, 

203. 

Vauxhall,  64. 

Vendramini,  G.,  226. 

Venezuela,  227. 

Verdant  Green,  311. 

Vernet,  Carle,  66. 

Versailles,  164,  274,  287. 

Vetusta  Monunienta,  1 50. 

Vicar  of  Wakefield,  \zZ. 

Victoria,  Queen,  96,  308. 

Victoria  and  Albert  Museum,  126  ; 
V.  also  National  Art  Library. 

Victories  of  the  Duke  of  Wellington, 
224. 

Vidal,  E.  E.,  355. 

Vienna  art  treasures,  36. 

Views\in  Australia,  254. 
„      of  Bath,  274. 

„     of  the  .  .  .  Campaigns  in  Spain 
and  Portugal,  223. 

„  of  Caves,  272,. 

„  of  the  Collegiate  C Impel  of  St 

George  at  Windsor,  1 5a 

„  in  Egypt,  223. 

„  in  Egypt,  14. 

„  in  Greece,  234. 

„  at  Hastings,  190. 

„  of  Hindostan,  231. 

„  in  India,  249. 

„  of  the  Island  of  St  Helena,  lyj. 

„  in  the  Ottoman  Empire,  234. 

„  in  the  Ottotnan  Dominions,  2  34. 

„  in  Paris,  93,  95. 

„  onand  near  the  River  Rhine,2y>. 

„  of  St  Helena,  236. 

„  in  the  South  Seas,  268. 

„  in  Turkey,  234. 

„  of    Versailles,    Paris,  and  St 

Denis,  274. 

„  in  Wales,  106,  108. 

„  of  Warwick  Castle,  106. 

„  in  the  West  Indies,  255. 
Village  Memoirs,  175. 


INDEX 


433 


Villeneuve,  72. 

Villiers,  H.,  125. 

Virgil's  Pastorals,  291. 

Virginia  Water,  constructed  by  T. 
Sandby,  99.    ■ 

Vita  di  Anton  Donienico  Gabbiani,  54. 

Vivares,  T.,  281,  370. 

Vocabulary  of  Flash  and  Cant^  307. 

Volunteers,  224,  225. 

Voyage  pittoresque  h  Naples  et  dans 
les  deux  Sidles,  41,  43. 

Voyage  pittoresque  aux  Alpes  Pen- 
nines,  22,1- 

Voyage  Pittoresque  en  Sidle,  18. 

A  Voyage roundGreatBritain,2^^,27C). 

A  Voyage  of  Discovery  to  BaffiTis  Bay, 

255- 
A  Voyage  to  Cadiz  and  Gibraltar,  234. 
A  Voyage  to  Cochinchina,  244,  250. 
A  Voyage  to  Madras  and  China,  237. 
Voyage  up  the  Mediterranean  in  the 

Swiftsure,  223. 
Voyages  and  Travels  to  India,  235. 
Vue  de  la  Porte  St  Bernard,  63. 
Vue  de  la  Porte  St  Paul,  63. 

Waggeries  at  Worcester,  312. 

Wales,  108,  109,  277,  278. 

Walker,  George,  3i9»  355- 
„        James,  318. 
„        Hearn,  316. 

Wallis,  John  A.,  355. 

Walpole,  Horace,  quoted,  20,  35,  55, 
171,177,218,  299,314. 
Sir  R.,  34,  301. 

Walsh,  Thos.,  223,  355. 

Walter,  John,  133,  134,  135. 

Walton,  J.,  120,  275,  355. 

Waning  Moon,  187. 

Ward,  H.  G.,  257. 
„      Mrs,  257. 
„      W.,  291,  370. 

Wardour  Street,  136. 

Warner,  Rev.  Richard,  260. 

Warner,  — ,  291,  371. 

Wars  of  Wellington,  224. 

Warwick,  George  Greville,  Earl  of,  106. 

Warwick  Castle,  aquatints  by  Sandby, 
108. 

wash  drawings  of  old  masters,  repro- 
duced in  aquatint,  53  et  seq. 

washers,  employed  by  Ackermann,  1 20, 
140. 

water-colour  painters  as  teachers,  182 
et  seq. 


water-colour   painting,    development 
from  tinted  dixz}ft- 
mgs,  31,78  et  seq., 
182,  183. 
„         „  „     in  relation  to'aqua- 

tint,  II,  81,82, 89, 
102. 
„        '„  „     materials  for,  105. 

„         „  „     as  a  fashion,    184, 

185,  190. 
Water  Colour  Society,  141,  147,  148, 

150,  151,  198,  200,  202,  274. 
The  Waterworks  at  Versailles,  1 50. 
Waterloo  campaigns  illustrated,  215, 

224. 
"Waterloo   Clark,"   John   Heaviside 

Clark,  186. 
waterproofing  paper,  leather,  woollen 

fabrics,  by  Ackermann,  113,  114. 
Wathen,  James,  237,  355. 
Watson,  Caroline,  23. 
Watt,  Robert,  236. 
Watteau  de  Lille,  68. 
Watts,  William,  engraver,  104,  371. 
Waverley  Novels,  315. 
Webber,  James,  253,  254,  268,  355. 

„        John,  80,  84,  182. 
Wedgwood,  Josiah,  86-88. 
Weiber,  S.,  355,  37 1- 
Wellesley,  Marquess,  320. 
Wellington,  Duke  of,  illustrated  books 

on,  223. 
Wells,  W.,  91. 
„     J.  G.,  371. 
„      Street,  290. 
Welsh  scenery  painted,  278. 
„      views  by  Varley,  203. 
Welsh,  Col.  James,  355. 
Wesley,  John,  306. 
Wessiling,  — ,  47. 
West  Indies,  illustrated,  223,  255. 
West,  Benjamin,  149,  226,  267,  315. 
„      Richard,  258  «. 
„      Thomas,  355. 
Westall,  Richard,  272,  273,  355. 

„       William,  84,   120,   126,  142, 
151,185,268,272,356,371. 
Westmacott,  Charles  M.,  310,  356. 
Westminster,  126,  261,  226. 

„  Abbey,  124,  149,  172. 

Wharton,  Dr,  102. 
Wheatley,  Francis,  262. 
Whitaker,  Thos.  D.,  356. 
Whitby,  198. 
I  Whitcomb,  — ,  224. 


434 


HISTORY  OF  AQUATINT 


White,  W.  J.,  125. 
Wight,  Isle  of,  271,  311. 
Wigstead,  136,  356. 
Wild,  Charles,  142,  i47,-356,  371- 
Wilkes,  Benjamin,  his  English  Moths 
cfc^«//'^^iVj,hand-coloured,3 1 
„      John,  301. 
Wilkins,  William,  232,  356. 
William  III.,  165. 
Williams,  C,  305,  332,  370,  371. 
David,  357. 
E.,  357. 
Williamson,  Capt.  Thomas,  221,  282, 

283,  320,  357. 
Willich,  A.  F.  M.,  220. 
Willyams,  Rev.  Cooper,  222,  357. 
Wilmot,  Olive,  275. 
Wilson,  Harriet,  357. 
Wilson,  Richard,  92,  103,  198,248,267. 
Wilson,  W.  R.,  357. 
Winchester,  126. 
Windham,  Rt.   Hon.    William,    134, 

154,  155,  ^n^  217. 
Windsor,  79,  99,  100,  108,  142,  322. 

„         H.,  Earl  of  Plymouth,  209. 
Wine  and  Walnuts,  139,  143. 
Wise,  Henry,  gardener,  166,  167. 
Woburn  Abbey  has  a  set  of  Girtin's 

Paris  views,  93. 
The  Wolds  Waggon,  319. 
Wolfe,  General  James,  267,  315. 
Wood,  W.,  292. 
„      John  G.,  357. 
„      William,  357. 


wood  engraving,  3,  20,  127. 
Woodman,  Richard,  371. 
Woodstock,  Oxford,  283. 
Woodward,  George  M.,  357. 
WooUett,  William,  267. 
Woolnoth,  T.,  291,  371. 
Worcester,  aquatint  by  Sandby,  108. 
Worcester,  Edward  Somerset,   Mar- 
quess of,  112. 
„  House,  Strand,  H2. 

Wordsworth,  William,  260,  273. 
The  World  in  Miniature,  128. 
Wotton,  Sir  Henry,  on  gardens,  169. 
Wouwermans,  Philip,  53. 
Wright,  J.  H.,  233,  371. 
Wright,  — ,  coachmaker,  290. 
Wyatt,  James,  314. 
Wye  river,  271,  276. 

Xenophon,  227. 

Yarmouth,  295. 

Yellow  Sea,  the,  251. 

York,  285,  288. 

Yorkshire,  319. 

Yosy,  A.,  357. 

The  Young Paintet's Maul-Stick,  185. 

Young,  Arthur,  219. 

ZlEGLER,  C,  371. 

Zoography,  or  the  Beauties  of  Nature 

Displayed,  ■2<^'i. 
Zoological    Gallery,    Oxford    Street, 

265. 


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