Just where Miss Reynolds secured copies of the Johnson letters is not certain. It is suggestive, however, that the letter to Banks had originally been sent under cover to Sir Joshua Reynolds and that Sir Joshua's copy is now among the Boswell papers at Yale University. There would have been ample opportunity for Frances Reynolds also to have secured a copy. And the letter to Charles Jenkinson of 20 June 1777 and to Dr. Dodd of 26 June were of the sort that an enterprising lady might well have wheedled copies from the Doctor. The important point is that the inclusion of the letters in the 1789 printing of the _Enquiry_ provides incontrovertible proof of Miss Reynolds' connection with the piece. For this second printing the entire pamphlet was reset, with numerous minor changes of wording and punctuation, but with no major alterations in meaning. In general the textual improvements are such as a bluestocking lady might well wish to make. It will be noted that on pages 25 and 49 of the copy here reproduced someone has made minor changes in wording in ink. These corrections are made in the later printing. Moreover, at the end of the 1789 version there is an errata list, indicating three alterations from the 1785 text which were mistakes. The Dedication remained unchanged, but the geometrical illustration was now placed facing the beginning of Chapter I. The _Enquiry_ was written in what is now recognized as one of the most exciting periods in the history of aesthetics, the late eighteenth century being a crucial point in the gradual shift from absolute classical standards to the relative approaches of the next age. Most of the important thinkers of the day--Hume, Burke, Lord Kames, Adam Smith, among others--were thinking deeply about the problem of taste. And if Miss Reynolds' essay is not one of the most perceptive of the discussions, it is at least one of the liveliest. In brief, the _Enquiry_ is what one might expect from an intelligent amateur, from one not a professional writer, yet one who has given much thought to the problems of aesthetics. Of course, many of the ideas are derivative, with echoes of the "moral sense" of Hutcheson, the "line of grace" of Hogarth, and the terrible sublime of Burke. The three divisions of the essay--the development of a mental system, the origin of our ideas of Beauty, and the analysis of taste--follow the customary pattern of eighteenth-century discussions. Yet the piece is no slavish refurbishing of old phrases. It is packed with fresh arguments and novel suggestions. If these are not always completely coherent or logical, they do represent original thinking.