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both Relief and Intaglio Processes were used. By this mode he produced a copy of Ugo da Carpi's Chiaroscuro Engraving of " Aeneas & Anchises," after Raphael, and a number of reproductions of drawings by Italian masters. A collection of these is in the Print Room of the British Museum. He also engraved in a similar manner a portrait of Sir Christopher Wren, by John Closterman, and a portrait of Dr. William Stukeley the Antiquary. In reference to this mode of Printing in Colour by Kirkall, there occurs the following in Chatto & Jackson's Treatise on Wood Engraving : : ' Though they possess considerable merit, they are deficient in spirit, and will not bear a comparison with the Chiaro-scuros executed by Ugo da Carpi and other early Italian wood engravers. Most of them arc too smooth, and want the bold outline and vigorous character which distin guish the old Chiaro-scuros; what Kirkall gained in delicacy and pre cision by the introduction of mezzotint, he lost through the inefficient engraving of the wood-blocks. ... In Walpole's Catalogue of En- gravers, a notice of Kirkall's ' new method of printing, composed of etch- ing, mezzotints, and wooden stamps,' concludes with the following passage: 'He performed several prints in this manner, and did great 38 Colour Printers prior to 1834 justice to the drawing and expression of the masters he imitated. This invention, for one may call it so, had much success, much applause, and no imitators I suppose it too laborious and too tedious.' ' Walpole's statement of "no imitators " was in the course of time proved to be inaccurate, for it will be quite apparent to you, now that you have made a more technical acquaintance with Baxter's Process, that this method of Kirkall's of producing Pictorial Prints with a key plate, printed