_Chantrey's Sleeping Children_ (Vol. ii., pp. 70. 94.).--There is, in Ashbourne Church in Derbyshire, a beautiful figure of a sleeping child by Thomas Banks, R.A., from which it is generally said that Chantrey took the idea of his celebrated monument in Lichfield Cathedral. It is a tradition in Ashbourne, that Chantrey drew the sketch for his sleeping children at an inn in the place, immediately after having seen Banks' sculpture in the parish church. The monument at Ashbourne is to Penelope, daughter of Sir Brooke Boothby, born April 11th, 1785, died Nov. 12th, 1791, and on it there are inscriptions in four languages, English, French, Latin, and Italian. The following description of it, taken from _The History and Topography of Ashbourne_, may be acceptable to some your readers, who may compare it with their recollections of Chantrey's figures:-- "It represents a child of delicate and amiable features, who has long suffered from slow and incurable disease, lightly, but rather carelessly, reclining on her right side. The position of the meek and lovely sufferer shows that she has just assumed it in order to seek temporary relief from pain, or from the weariness that a protracted repose, even on the softest materials, eventually causes. The little patient is extended, in the position just described, on a marble mattress and pillow, to which the hand of the sculptor has communicated the apparent texture of the softest down. The expression of the countenance is slightly indicative of pain, felt even in the intervals of slumber; and the little hands, lifted towards the countenance, plainly show that the sufferer has so placed them, in order that they and the arms may be in some measure a support to the body, and relieve it from the aching tenderness caused by long contact with the couch on which it rests. Around the head is bound, in loose folds, a handkerchief, which allows the artist greater scope to exhibit the child's features. The body-costume is a low-fronted frock with short sleeves, most gracefully sculptured. The whole of the drapery is in the most finished style, and the ease and softness of the folds are an admirable proof of the delicate chiselling of the artist. He has shown his natural and pure taste in the manner in which he has placed the feet. The entire position of the figure is faultless; and it represents, with refined fidelity to nature, the female infant form, patiently and slowly perishing beneath the steady undermining progress of irresistible decay." W. FRASER.