effects, such as “fire light, moon light, and other glowing illusions”, created by painting areas of colour on the back of a commercial engraving and adding varnish to make specific areas translucent when suspended in front of a light source. Since the Abbey was one of the buildings recommended for viewing by moonlight, it is possible that this was the subject of the one in Fanny's room. In fact, a tinted print of the period such as those used for creating transparencies already existed in "Ibbetson's Picturesque Guide to Bath, Bristol &c", in which the full moon is featured as seen through an arch of the east wing. Different light effects appear in the work of other painters, such as the sunsets by Samuel Palmer and Benjamin Williams Leader, and the colour study by Turner in which the distant building appears as a "dark shape at the centre" beneath slanting sunlight (see Gallery). Hybrid works Prints of historical buildings along the Wye increased during the fourth quarter of the 18th century, with interior views and details of the Abbey's stonework among them. Two later sets of these were distinguished by including a selection of unattributed verses. First came four tinted prints that mixed both distant and interior views of the building, published by Frederick Calvert in 1815. The other was an anonymous set of views, with the same verses printed below. These were published by the London firm of Rock & Co. and later pasted on pages of an album in the King's Library. One set of verses hails the Abbey's survival, in despite of Henry VIII's dissolution, "Where thou in gothic grandeur reign’st alone". The phrase "gothic grandeur" derives from John Cunningham’s "An elegy on a pile of ruins”" (1761), an excerpt from which was published by Grose at the end of his description of Tintern Abbey. At that period the adjective was used as a synonym for "mediaeval" and was so applied by Grose when describing the Abbey as being "of that stile of architecture called gothic". Cunningham's poem was a melancholy contemplation of the ravages of time that spoke in general terms without naming a specific building. But the verses on the print are more positive in feeling; in celebrating the Abbey's historical persistence, they do not see ruin as necessarily a cause for regret. The scenes below which the verses appear are also quite different from