ENGRAVERS OF THE ROYAL ACADEMY, I768-1868 
Table, I792 ; The Sportsman's Return, 1792 ; The First of September, 
lllorning and Evening, 1794. ; The Farmyard, 179 5 ; Inside a Country 
Alehouse, 1797; Sailors' Conversation, 1802 ; Turnpike Gate, 18 06; 
Rabbits, Guinea-pigs, The Warrener, and The Thatcher, 1806 ; and 
Bathing Horses, 1814.. 
William Bromley (b. 1769, d. 184.2) made a name for himselt 
by engraving for Macklin's Bible, and by illustrating an English 
history with plates after designs by Stothard. For many years he 
Worked for the trustees of the British Museum, engraving the Elgin 
marbles from drawings by Henry Corbould. In addition to this, he 
linked his fame with that of Flaxman, F useli, Lawrence, and other 
Academicians, and proved by his print of the Woman taken in Adultery 
after Rubens that the Academy did well to elect him in 1819. The 
lithographer and line engraver, Richard J. Lane (b. I800, d. 1872), 
was the grand-nephew of Gainsborough, his mother being a niece or 
the famous painter. At the age of sixteen he was articled to 
Charles Heath, and he was only twenty-seven when his engraving 
after Lawrence's Red Riding Hood won him his way into the Royal 
Academy. He was a persona grata With everybody, from Macready 
and Malibran to the street arabs, and from his occasional creditors to 
the members of the Royal family. He was a musician, as well as an 
artist, and his tenor voice made him welcome everywhere. It may 
be said, indeed, that he had a tenor voice in all his work, a very sweet 
tenor, even too sweet very often. One can have too much gentleness 
and refinement; and Lane's lithographs and engravings, like his 
drawings in chalk and pencil, would be all the betterif they had more 
real strength in their constructive handling. Lane finished a great 
many prints after Chalon, Leslie, Richmond, Landseer; and in 
the same medium he achieved success in his imitations of Gains- 
borough's sketches, in which he does justice to the original charm of 
his great-uncle's manner. Not less effective, as examples of his 
imitative skill, are the prints which he executed after Lawrence.  
Charles Turner (b. 1774., d. I857) practised mainly in mezzotint, 
though he did some notable things both in stipple and in aquatint. 
Being a hard worker, he produced six hundred plates, two-thirds of 
which are portraits. He worked much for his namesake,  M. W. 
Turner, engraving and publishing the first twenty plates of " Liber 
Studiorum," between the years 1807-1809. But they squabbled 
over a question of money, and separated for a while; the quarrel 
was eventually made up, and Charles became a trustee under the 
conditions of M. W. Turner's Will. Among his portrait prints 
it will be enough to name the following: the Marlborough Family 
E v1