In the second half of the 18th century the technique began to be used to colour more elaborate prints that were also issued in monochrome, the coloured impressions being much more expensive, and probably intended for framing.  Considerably different colour schemes across different impressions of some prints suggest that at times coloured versions were pulled individually for a specific order.  In England, Elisha Kirkall was an early user, in mezzotints of the 1720s, and Robert Laurie, an engraver of maps and other subjects later in the century, extended the number of colours that were used, helping to make the technique fashionable again.  Towards the end of the century, the Italian Francesco Bartolozzi and his followers made much use of it, and in France it was used for the illustrations to luxury scientific books, culminating in those of the botanical illustrator Pierre-Joseph Redouté, such as his Les Roses (1817–24).  Redouté had the many artists working from his watercolours print them with inking à la poupée and then hand-colour details where necessary.