During the next few years Boulton brought together a number of able artists at Soho, including John Flaxman and James Wyatt; and Eginton rapidly became a skilful worker in almost every department of decorative art.

They were copied from the works of Philip James de Loutherbourg, Angelica Kauffman and other artists, and varied in price from £1.

They were sometimes mistaken for original paintings, although these old "polygraphs" were in fact nearly identical to the varnished coloured oleographs which later became prevalent, the main difference being that the latter were printed lithographically.

Furthermore, the leading lithographer Vincent Brooks was able to produce an exact imitation of the "ground" of one of the examples exhibited at South Kensington by taking an impression from an aquatint engraved plate on paper used for transfer lithography.

Lord Dartmouth proposed to grant Eginton a government pension of £20 a year for his work on the picture copying process, but Boulton raised objections and the offer was withdrawn.

For the next year or two Eginton appears to have continued to work at Soho, and to have begun in 1781 to stain and paint upon glass.

He was obliged to render opaque a large portion of his glass, and thus covered up the characteristic beauty of the old windows.

[3] His daughter married Henry Wyatt, the painter; his son, William Raphael Eginton, succeeded to his father's business, and in 1816 was appointed glass-stainer to Princess Charlotte.