“The virtues and information of the great are always evinced by their conduct; their accomplishments, coming within the scope of flattery, are difficult to be ascertained by any authentic proofs, and those who have lived near them may be excused for some degree of scepticism with regard to their attainments of this kind. If they draw or paint, there is always an able artist present, who, if he does not absolutely guide the pencil with his own hand, directs it by his advice. If a princess attempt a piece of embroidery in colours, of that description which ranks amongst the productions of the arts, a skilful embroideress is employed to undo and repair whatever has been spoilt. If the princess be a musician, there are no ears that will discover when she is out of tune; at least there is no tongue that will tell her so. This imperfection in the accomplishments of the great is but a slight misfortune. It is sufficiently meritorious in them to engage in such pursuits, even with indifferent success, because this taste and the protection it extends produce abundance of talent on every side. Maria Leczinska delighted in the art of painting, and imagined she herself could draw and paint. She had a drawing-master, who passed all his time in her cabinet. She undertook to paint four large Chinese pictures, with which she wished to ornament her private drawing-room, which was richly furnished with rare porcelain and the finest marbles. This painter was entrusted with the landscape and background of the pictures; he drew the figures with a pencil; the faces and arms were also left by the Queen to his execution; she reserved to herself nothing but the draperies, and the least important accessories. The Queen every morning filled up the outline marked out for her, with a little red, blue, or green colour, which the master prepared on the palette, and even filled her brush with, constantly repeating, ‘Higher up, Madame--lower down, Madame--a little to the right--more to the left.’ After an hour’s work, the time for hearing mass, or some other family or pious duty, would interrupt her Majesty; and the painter, putting the shadows into the draperies she had painted, softening off the colour where she had laid too much, etc., finished the small figures. When the work was completed the private drawing-room was decorated with her Majesty’s work; and the firm persuasion of this good Queen that she had painted it herself was so entire that she left this cabinet, with all its furniture and paintings, to the Comtesse de Noailles, her lady of honour. She added to the bequest: ‘The pictures in my cabinet being my own work, I hope the Comtesse de Noailles will preserve them for my sake.’ Madame de Noailles, afterwards Marechale de Mouchy, had a new pavilion constructed in her hotel in the Faubourg St. Germain, in order to form a suitable receptacle for the Queen’s legacy; and had the following inscription placed over the