At this point begins what prior to 1840 was the farm of Robert Lenox, extending on to what is now Seventy-third Street. The uncle of Robert Lenox was a British commissary during the Revolution. The farm, which is worth at the present day perhaps ten million dollars, was bought in the twenties of the last century for forty thousand dollars. Under the various sections of his will which bear the dates of 1829, 1832, and 1839, Lenox, or "Lennox" as it was then spelled, devised his farm, then comprising about thirty acres, to his only son, James, with his stock of horses, cattle, and farming utensils, during the term of his life and after his death, to James's heirs forever. The will reads: "My motive for so leaving this property is a firm persuasion that it may, at no distant date, be the site of a village, and as it cost me more than its present worth, from circumstances known to my family, I will to cherish that belief that it may be realized to them. At all events, I want the experiment made by keeping the property from being sold." Under a clause in the will dated 1832, however, he withdrew the restriction covering the sale of the farm, but, nevertheless, urged his son not to sell it, as he was still of the firm conviction that some day there would be a village near by, and the property would appreciate. It was the son James Lenox who erected the Lenox Library, which was a conspicuous mark on the upper Avenue until it was merged with the Astor in the formation of the present Public Library. The Lenox Library antedated by some years the Metropolitan Museum of Art. It was designed by Richard Morris Hunt, who died in 1893, and whose Memorial, the work of Daniel Chester French, is on the edge of the opposite Park. The site of the old Library is now occupied by the house of Mr. Henry C. Frick, one of the great show residences of the Avenue and the city. Beautiful as it unquestionably is, the veriest layman is conscious of the fact that, for the full effect, a longer approach is needed. A broad garden separates the house, which is eighteenth-century English, from the sidewalk. The gallery, the low wing at the upper corner, with lunettes in sculpture by Sherry Fry, Phillip Martiny, Charles Keck, and Attilio Piccirilli, contains pictures by Titian, Paul Veronese, Velasquez, Murillo, Van Dyck, Franz Hals, Rembrant, Daubigny, Corot, Diaz, Manet, Millet, Rousseau, Troyon, Constable, Gainsborough, Lawrence, Raeburn, Reynolds, Romney, Turner, and Whistler. The chief artistic feature of the interior decorations of the house, which, with the land upon which it is placed, cost, in round figures, five millions of dollars, is the famous series of Fragonard Panels, in the drawing-room. Painted originally for the _chere amie_ of Louis the Fifteenth, they are known as the Du Barry Panels, despite the fact that the fair lady did not find them quite satisfactory and the artist placed them in his own home on the shores of the Mediterranean.