Eldest daughter of William Coke, of Holkham, the famous agriculturist, so long M.P. for Norfolk, and later Earl of Leicester. ST. JAMES’S PARK (Plate XIV.). M. Grosley, a Frenchman, describes this scene in his “Tour of London,” 1772: “Agreeably to this rural simplicity, most of these cows are driven about noon and evening to the gate which leads from the park to the quarter of Whitehall. Tied to posts at the extremity of the grass plots, they swill passengers with their milk, which, being drawn from their udders upon the spot, is served, with all the cleanliness peculiar to the English, in little mugs at the rate of a penny a mug.”--A TEA GARDEN (Plate XV.). Bagnigge House had been the country residence of Nell Gwyn, and in 1757 the then tenant accidentally discovered a chalybeate spring in his grounds, which two years later he turned to profit. Bagnigge Wells then developed a tea garden, with arbours, ponds with fountains and gold-fish, a bun-house, music, and a reputation for the amorous rendezvous. The place was very popular, and much favoured, especially on Sundays, by the would-be fashionable wives of well-to-do city-folk. In the character of “Madam Fussock” Colman took this off in his prologue to Garrick’s Drury Lane farce, “Bon Ton; or High Life above Stairs,” 1776.--THE LASS OF LIVINGSTONE (Plate XVI.). A popular old Scotch song, words by Allan Ramsay. There is also an older version, “The Bonnie Lass o’ Liviston,” associated with an actual person who kept a public-house in the parish of Livingstone. LADY COCKERELL AS A GIPSY WOMAN (Plate XIX.). One of the beautiful daughters of Sir John and Lady Rushout, whose miniatures are, perhaps, Plimer’s masterpieces.--LADY DUNCANNON (Plate XX.). One of the “Portraits of Four Ladies of Quality,” exhibited by Downman at the Royal Academy in 1788. There are also colour-prints of Viscountess Duncannon after Lavinia, Countess Spencer and Cosway, and, with her more famous sister, Georgiana, Duchess of Devonshire, after Angelica Kauffman; while they both figure, with other fashionable beauties, in J. K. Sherwin’s picture “The Finding of Moses,” also in Rowlandson’s “Vauxhall,” and two prints in which the same artist celebrated their triumphant share in the Westminster election of 1784, when it was said that “two such lovely portraits had never before appeared on a canvass.” The Countess of Bessborough, as she became, was the mother of Lady Caroline Lamb. Her distinguished grandson, Sir Spencer Ponsonby-Fane, kindly lent the print reproduced here.