The guards are in most instances decorated with miniatures, usually two superior and two inferior, divided by ornamental borders or arabesques. On the handle end of the fan, _i.e._ the smaller semicircle, are either one, three, or more miniatures, often imitation Chinese subjects: these, in some instances, are in self-colour, as pink, red, or blue. The gilding is both in leaf and painted, usually worked over with a pattern in red or brown. The figure-painting is in no instance by a master-hand, _i.e._ by an artist of the first calibre, but by skilled workmen, or artificers, deriving their inspiration from outside sources. The subjects with which these fans were decorated embrace every class. Thus we have representations of ancient history, both sacred and profane, subjects which recorded important current events, subjects fanciful of almost every description. That of the ‘Rape of Helen’ occurs often; the fine fan in the possession of Mr. J. G. Rosenberg of Karlsruhe has this subject for its principal medallion, the style recalling Le Brun, with sixteen smaller subjects from classic mythology, these divided by a gold band. Also in the beautiful example in the possession of Lady Lindsay this same subject is treated, though in a very different manner. (Illustrated facing p. 30.) In the cabinet of Madame Riant is the ‘Judgment of Paris,’ the subject _en cartouche_, with smaller cartouches in the Chinese taste. Probably one of the earliest of these ‘Vernis Martin’ fans (ivory brisé fans had been painted earlier, during the latter part of the seventeenth century) is the bridal-fan of the Duchess of Burgundy, Adelaide of Savoy, mother of Louis XV. The subject represents the fêtes at Versailles on the occasion of the marriage of the grandson of Louis XIV. in 1709. On the obverse the bride appears seated upon a dais with attendants bearing floral offerings. In the centre the king dances a minuet with Madame de Maintenon, ‘ma tante,’ as the dauphin endearingly called her. Other dancing figures, musicians, etc., complete the composition, which is enclosed in a large cartouche of fruits, masks, instruments, etc.; on the field of the fan are representations of country life. [Illustration: The Rape of Helen, ‘Vernis Martin’, c. 1745. Lady Northcliffe.] On the lower semicircle, _en cartouche_, the bride again appears playing a guitar, the remaining space being occupied by subjects of a Chinese character. On the reverse we have a representation of the fêtes in the palace gardens, with scenes from the life of the prince—as pupil of Fénelon, and as lover; miniatures of the prince and princess appear on the panaches. This important fan has been attributed to the pencil of Watteau, but with small grounds, being quite unlike the character of Watteau’s work except in the type of some of the figures represented.