Three scenes from Grétry’s opera of _Richard, Cœur de Lion_, first produced in 1784, and performed the following year before the king and queen at Fontainebleau, appear on a fan, the costumes being of the period of the production of the opera, the ladies wearing the hooped petticoat, with long streamers from their heads. On the reverse, two songs commencing ‘Que le Sultan Saladin,’ and ‘La Danse n’est pas ce que j’aime.’ The song ‘O Richard, O mon Roi, l’univers t’abandonne,’ which, however, does not appear on the fan, became of historic importance at Versailles, October 1, 1789. Other operatic fans commemorate ‘_Nina ou la Folle par Amour_’ and ‘_Raoul de Créqui_’ by Dalayrac, produced in 1786 and 1789 respectively. The first named has a single scene with four figures in the centre of the fan, and verses headed ‘Romance de Nina, Chantée par Mme. Dugazon.’ The second much more elaborate, with one large and two smaller panels, verses and music from the opera on the back of the fan. Three scenes from Dezède’s _Alcidor_, produced 1787, commemorate an opera of which both composer and music are now forgotten. The decorations are etched and rudely coloured by hand; the sticks walnut, inlaid with ivory. Three hand-screens appeared with a scene from the first, second, and third acts respectively of _Fanchon La Vielleuse_, a French version of Himmel and Kotzebue’s operetta, _Fanchon, das Leyermädchen_, produced at Berlin in 1805. These testify to the transient popularity of a now almost forgotten composer. The screens are of cardboard, coloured grey-brown, shield-shaped, having an oval medallion engraved in line and coloured by hand. On the reverse, extracts from the libretto. Of plays we have an illustration of a scene from Voltaire’s tragedy of _Brutus_, first produced in Paris in 1730, and revived in 1790, the names of the several characters inscribed below the figures. On another fan, three scenes from Chénier’s play of _Charles IX. ou l’École des Rois_, which appeared in Paris in 1789. On the reverse, a long quotation from the second scene of the third act. An adventure of Philippe-Égalité, Duc d’Orléans, provided the subject of several fans. The story is related at length upon a fan which shows the interior of a cottage where the Duke, during a walk near Bency, in January 1786, had stopped to ask for a breakfast. The peasant’s wife was at the point of childbirth, and was actually delivered whilst the unknown prince ‘que la France admire’ ate his frugal meal of bread and cheese. With his natural bonhomie he proposed himself as godfather, and only at the signing of the register he disclosed his identity by exhibiting his ‘cordon-bleu.’ A fan in the Schreiber collection shows the interior of a parish church, with the prince standing as sponsor. The inscription, ‘Couplets dédiés à S.A.S. Monseigneur le Duc d’Orléans.’