101. The Universal Power of Love, by ditto. 102. The Three Fine Arts, Painting, Architecture, and Sculpture: from a design of Angelica Kauffmann, by Mr. Poggi. 103. The Marriage of Cupid and Psyche, by ditto. 104. The Universal Power of Love, by ditto. 105. Cornelia, Mother of the Gracchi, displaying her Jewels, by ditto. 106. The Three Fine Arts, Painting, Architecture, and Sculpture: an original drawing by A. Kauffmann. 107. A Nymph nursing the Genius of Love, by Mr. Bartolozzi. 108. Cephalus and Procris, with the portrait of Mr. Pope and the lady to whom he presented a fan with the celebrated lines in the _Spectator_, ‘Come gentle air,’ etc.: an original drawing by Mr. Cipriani.[127] 109. The Bust of Pope crowned by the Graces, who are admiring the beauty of his works: an original drawing by A. Kauffmann. 110. A Fan emblematical of Victory, composed by a Lady of Quality,[128] by Mr. Poggi. 111. Venus lending the Cæstus to Juno: an original drawing of A. Kauffmann. 112. A Subject from the Etrusque: an original drawing by Mr. Bartolozzi. 113. Angelica and Medoro: an original drawing by Mr. Cipriani. 114. Hope nursing Love, by Mr. Poggi. 115. The Origin of Painting: an original drawing by Mr. Bartolozzi. 116. Cornelia, Mother of the Gracchi, displaying her Jewels: an original drawing by M(?) West.’[129] Church-fans are referred to more fully in another chapter of this work (page 248). The painted variety gave such subjects as ‘The Meeting of Isaac and Rebecca,’ ‘Judith with the Head of Holofernes,’ ‘The Marriage at Cana,’ ‘Solomon and the Queen of Sheba.’ An early example appeared at the Walker sale in 1882, having a deep mount painted with the subject of Adam and Eve in the Garden of Eden; the stick ivory, with the silver piqué ornament so popular during the reigns of Charles II., Queen Anne, and George I. Mourning-fans are easily recognisable from their generally sombre appearance. In these, the character of the subject is apparently a matter of small consequence so long as the general colour scheme is that of a funeral card, viz. black, white, and silver. In the Wyatt collection is an example of about 1750 painted in black with a pastoral scene, the stick and guards ivory, painted in black in imitation of the Chinese. The extraordinary popularity of Wedgwood’s jasper ware was not without its influence on the fan. The example in the possession of Lady Bristol has a richly carved ivory stick with medallion subjects of Diana hunting, etc., with amorini, terminal figures, and fauns, in imitation of blue and black jasper, the panels silver piqué. The mount is of silk, with centre panel in the style of Angelica Kauffmann, the border and ornaments in gold and silver spangles, with painted Wedgwood medallions again introduced. (Illustrated facing p. 176.)