 In 1798 he was employed by the publisher Edward Orme to produce the first plates for his "transparencies", a new type of varnished and coloured print designed to be illuminated from behind.In 1801 he issued, with great success, a print of Napoleon, apparently based on a portrait by Masquerier painted on a visit to Paris, and was involved in the exhibition of a gigantic painting, "Bonaparte Reviewing the Consular Guards", also ostensibly by Masquerier.Turner's annotated copy of the exhibition catalogue, however, indicates that there was an element of deception to the enterprise, and that Masquerier had never in fact seen Napoleon.