points out, these were paintings designed to be read like novels, whose meaning emerged after the viewer had done the work of deciphering it. Other "anecdotal" scenes were lighter in mood, tending towards being captionless Punch cartoons. Towards the end of the 19th century the problem picture left the details of the narrative action deliberately ambiguous, inviting the viewer to speculate on it using the evidence in front of them, but not supplying a final answer (artists learned to smile enigmatically when asked). This sometimes provoked discussion on sensitive social issues, typically involving women, that might have been hard to raise directly. They were enormously popular; newspapers ran competitions for readers to supply the meaning of the painting. Many artists participated in the revival of original artistic printmaking usually known as the etching revival, although prints in many other techniques were also made. This began in the 1850s and continued until the fallout from the 1929 Wall Street Crash brought about a collapse in the very high prices that the most fashionable artists had been achieving. British Orientalism, though not as common as in France at the same period, had many specialists, including John Frederick Lewis, who lived for nine years in Cairo, David Roberts, a Scot who made lithographs of his travels in the Middle East and Italy, the nonsense writer Edward Lear, a continual traveller who reached as far as Ceylon, and Richard Dadd. Holman Hunt also travelled to Palestine to obtain authentic settings for his Biblical pictures. The Frenchman James Tissot, who fled to London after the fall of the Paris Commune, divided his time between scenes of high society social events and a huge series of Biblical illustrations, made in watercolour for reproductive publication. Frederick Goodall specialized in scenes of Ancient Egypt. Larger paintings concerned with the social conditions of the poor tended to concentrate on rural scenes, so that the misery of the human figures was at least offset by a landscape. Painters of these included Frederick Walker, Luke Fildes (although he made his name in 1874 with Applicants for Admission to a Casual Ward- see above), Frank Holl, George Clausen, and the German Hubert von Herkomer. William Bell Scott, a friend of the Rossettis, painted historical scenes and other types of work, but was also one of the few artists to depict scenes from heavy industry. His memoirs are a useful source for the