guinea; and prints are procurable for a less sum. But the beginner should be very careful what prices he pays for Turner, and never attempt, on his own judgment, to pick up bargains, as the number of states is legion and bargains are rare.
For instance, how is the tyro to distinguish between the "Ports of England," a set of six plates published by Turner himself in 1826, engraved by Lupton (size about 6-1/2 in. by 9 in.) on India-paper, and the later edition with the title changed into "Harbours," when he is purchasing single plates?
We have alluded to S. W. Reynolds, whose sudden death in 1835 induced his son of the same name to forsake painting to complete some of his father's plates, after which he himself practised mezzotint with great success. The father, passing through Exeter, saw in a shop window some drawings for sale by a lad named Samuel Cousins. He was so struck with the work that he brought Cousins to London as his pupil. Samuel Cousins became a fine mezzotint engraver, who interpreted the portraits of Sir Thomas Lawrence in a style he made his own. He employed etching, stipple, and dry point in conjunction with mezzotint, and was not alone in his use of what is known as "mixed mezzotint," which, when pushed to its uttermost limits, supplemented by mechanical means of producing effects, helped to kill mezzotint engraving in the middle of the nineteenth century. Among the best known of the mezzotints of Cousins are Master Lambton, Countess of Blessington, Lady
