On the dado this inscription: “We loved you, my dear Eliza, whilst you were with us. We lament you now you are departed. The Almighty God is just and merciful, and we must submit to His will with the Resignation and Reverence becoming human frailty. He has removed you, Eliza, from the trouble which has been our Lot, and does not suffer you to behold the Scenes of horror and distress in which these devoted Kingdoms must be involved. It is difficult to part with our beloved Child, though but for a season. Yet our Interest shall not be put into competition with her felicity, and we will even bear her Loss with Chearfulness. Happy in each other, we were happy in you, Eliza, and will with contented minds cherish your memory till the period arrives, when we shall all again meet and Pain and Sorrow shall be thought of no more. R.C.—I.C.” On the plinth lines altered from Book I., Ode XXIV., of Horace are printed thus: (QVIS DESIDERIO SIT PVDOR AVT MODVS TAM CHARI CAPITIS?— —CVI PVDOR, ET JVSTITIAE SOROR INCORRVPTA FIDES, NVDAQVE VERITAS QVANDO VLLAM INVENIENT PAREM? DVRVM! SED LAEVIUS FIT PATIENTIA, QVICQVID CORRIGERE EST NEFAS.) On the base: “THIS TRIBUTE TO THE MEMORY OF AN AMIABLE GIRL WAS INSCRIBED ON HER COFFIN THE 16TH OF OCTOBER, 1779, BY A FATHER WHO LOVED HER.” Who could read, even after a century’s time, this beautiful and tender tribute to the gentle young girl, who died so many years ago, without feeling deep sympathy with the bereaved father, “who loved her?” The unsuccessful worker and the patriot speak plainly also in the lines: “He has removed you from the trouble which has been our Lot and does not suffer you to behold the scenes of horror and distress in which these devoted Kingdoms must be involved.” Mrs. Davis also possessed some of the beautiful Bristol figures of Spring, Summer, and Winter, and she patriotically sent them for exhibition at the Centennial Exposition in Philadelphia, in 1876. Like many another rare and beautiful article sent confidingly there at that time, they were never returned to their owner. This loss must have been hard to endure with patience, not only from the historical and hereditary value and interest of the pieces, but also because the previous year duplicate pieces of Bristol were sold in London for £54 each. One of the most beautiful of Richard Champion’s productions in England or America is the medallion plaque of Franklin, described in Chapter XIV.