The centre portion of this inscription has been within a few years cut out of the back of the frame by some vandal hands. The entire eulogy, as written on the back of the Sharpless portrait, can be seen in Lossing’s “Mount Vernon and Its Associations,” and in Sparks’s “Writings of Washington,” and as a masterpiece of flattery—and honest flattery, too—it knows no equal. This pitcher portrait descended to Lawrence Washington, Esq. It was exhibited at the Philadelphia State-House in 1876, and was sold at auction April 22, 1891, at Philadelphia, for $75. Liverpool pitchers bearing the design like that of the pitcher portrait are rare in America, but are found in a few private collections; and oval plaques are also found bearing the same portrait. These latter have a swelling surface, as if cut from the side of a pitcher. There are specimens with this print in the Trumbull-Prime Collection. Some years ago a framed pitcher portrait was found in the attic of an old house in Washington Street, Newport, and is now in the possession of Benjamin Smith, Esq., of Philadelphia. Some very interesting ceramic portraits of Washington were made in China, early in this century, on four porcelain toddy-jugs, by order of Mr. B. C. Willcocks, of Philadelphia. It is said that the portraits were copied from one of these pitcher portraits, but the head on the toddy-jugs is longer and narrower, and the neck is much longer. This elongating may have been done by the Chinese artist, but it looks more like the other Stuart portrait, the one with lawn ruffles; the pitcher portrait has a lace ruffle. One of this quartette of covered toddy-jugs was kept by Mr. Willcocks, and the other three he presented to three life-long friends who met frequently and regularly to play whist with him. One of these Washington toddy-jugs is now in a Washington collection in Newport. It is a foot in height and seven inches in diameter, of white Chinese hard porcelain. It has foliated handles, heavy rim, and “chimera” knob on the cover, all of gilt. On one side is the portrait of Washington, but by reason of the bluish shade of the hard porcelain it lacks the softness of the print on the Liverpool ware. The portrait is banded with a heavy gold edge, and in a similar gilt oval on the opposite side of the pitcher is a pretty cipher, B. C. W. [Illustration: Washington Monument Pitcher.] To this pitcher-portrait design, since so much honor has been paid to it, I will assign the first place on my Washington list. 1. Washington. Head from Stuart’s Portrait. Liverpool. On oval plaques and pitchers. Described on pages 258 _et seq._, and shown on page 259. 2. Washington. Head from Stuart’s portrait. Canton. On Chinese toddy-jug. Described on preceding page. 3. Washington. Medallion head on monument. Liverpool.