. Engraving and etching : a handbook for the use of students and print collectors . More originality is displayedin the large and broadly handled portrait-etchings ofBenjamin Wilson (London, 1750—1788). Some experi-ments in etching were also made by Angelica Kauffmannand Bartolozzi, while to caricaturists such as Rowlandson,Dighton, Gillray, Aiken and the Cruikshanks etching wasa ready and quick means for the production of theirprints. A real revival of etching began with the etchedwork of Turner for his Liber Studiorum (1807—1819),of Sir David Wilkie and Andrew Geddes, and of the 246 ENGRAVIN
. Engraving and etching : a handbook for the use of students and print collectors . More originality is displayedin the large and broadly handled portrait-etchings ofBenjamin Wilson (London, 1750—1788). Some experi-ments in etching were also made by Angelica Kauffmannand Bartolozzi, while to caricaturists such as Rowlandson,Dighton, Gillray, Aiken and the Cruikshanks etching wasa ready and quick means for the production of theirprints. A real revival of etching began with the etchedwork of Turner for his Liber Studiorum (1807—1819),of Sir David Wilkie and Andrew Geddes, and of the 246 ENGRAVING IN ENGLAND Norwich School represented by Crome, Cotman, Stark,Vincent and the Rev. E. T. Daniell. In the second half of the century stipple engravingattained extraordinary popularity in England, and fromEngland passed over to the Continent, where it wasknown as la maniere anglaise. The art of stipple. Fig. 113. Francesco Barlolozzi: Cupid and Psyche (detail). engraving was introduced into England by WilliamWynne Ryland (1738—1783)- The great founder of thestipple school was the Italian Francesco Bartolozzi, whowas born in 1728, worked from 1764 to 1S02 in London,and in 1802 went to Lisbon, where he remained till hisdeath in 1815. He was a naturally gifted engraver, and FRANCESCO BARTOLOZZI 247 he came to London at the very time when Dcmarteausplates, printed in red and various colours (.see p. 300), wereheld in great esteem. Angelica Kauffmann and theItalian painter, Cipriani, then working in London, per-suaded Bartolozzi to adopt the crayon manner for thereproduction of their work. Bartolozzi refined andperfected this method, and produced during his Londonperiod an extraordinary number of plates after theseand other artists. The stipple method was wonderfullysuccessful in rendering the sweet sentimental expressionof the soft effeminate heads by Angelica and Cipriani andtheir woo
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