Whitbread_, by S. W. Reynolds; J. R. Smith’s _Sophia Western_ and _Mrs. Bouverie_, with an engaging suggestion of pastel; Charles Turner’s _Lady Cholmondeley and Child_; John Jones’s _Mrs. Jordan as “Hippolyta”_; John Young’s _Lady Charlotte Greville_, _Mrs. Hoppner as “Eliza,”_ _Mrs. Orby Hunter_, the Godsall children (_The Setting Sun_), and _Lady Lambton and Children_ (one of them Lawrence’s _Master Lambton_); William Ward’s pretty _Salad Girl_, _Mrs. Benwell_, and _The Daughters of Sir Thomas Franklana_, so well known in monochrome, but so exceedingly rare in colour; James Ward’s _Juvenile Retirement_ (the Douglas children); _Children Bathing_ (Hoppner’s own); _Mrs. Hibbert_, and the graceful _Miranda_ (Mrs. Michael Angelo Taylor), of which only one impression is known in colours, exquisite in quality, that in the very choice collection of Mr. Frederick Behrens. Although Hoppner’s pre-eminence among the portrait-painters was so long established, it was seriously challenged in the Royal Academy exhibition of 1790 by the portrait of _An Actress_ from the brush of a painter only twenty-one years of age, who was destined to preside over the Academy and become the most fashionable painter of his day. This was Thomas Lawrence, and the portrait was that of the popular and beautiful Miss Elizabeth Farren--Countess of Derby seven years later--in her fur-lined white cloak and muff, which was engraved by Charles Knight, with finishing touches by Bartolozzi, who signed it, and is now one of the most desired of colour-prints, as it is one of the most constantly reproduced.