In 1780 he commenced a series of allegorical figures for the window of the New College chapel at Oxford. These were followed by the “Nativity,” which being sold to the Duke of Rutland, perished in a fire at Belvoir Castle. About this time he made a tour to inspect the Continental galleries. On returning, he sustained a paralytic attack, which much alarmed his friends, but his recovery was speedy; and he quickly proved that his powers had suffered no decay, by the production of his “Fortune-teller,” his portrait of Miss Kemble, and that of Mrs. Siddons, in the full might of her beauty and power, as the Tragic Muse. While engaged with the latter, he wrote his name on the border of her robe; and on the great actress looking at the words, and smiling, he remarked, with one of his most courtly bows, that he could not lose such an opportunity of sending his name down to posterity on the hem of her garment. When at work, he is said to have been in the habit of using enormous quantities of snuff. Thus, while occupied with the large picture of the Marlborough family at Blenheim, a servant was ordered by the duchess to sweep up the snuff that he had let fall on the carpet. However, when the man entered with a broom, Sir Joshua quietly requested him to let it remain till he had finished; observing, that the dust would do more harm to his painting, than the snuff could possibly do to the carpet. On the death of Allan Ramsay, the king’s painter, Reynolds was, at the request of his majesty, induced to accept the vacant office. He soon after produced “Love unloosing the Zone of Beauty,” and a portrait of the notorious Duke of Orleans. Then he gave his time and attention to painting the “Infant Hercules Strangling the Serpents,” for the Empress of Russia; who acknowledged his attention by a note of thanks from her own imperial hand, a gold snuff-box, on which was her likeness, and a purse of fifteen hundred guineas. [Illustration: SIR JOSHUA REYNOLDS AT BLENHEIM.]