MRS. CREWE (Plate XXVII.). The famous beauty, Fulke Greville’s daughter. It was to her house in Lower Grosvenor Street that the triumphant “true blues”--the Prince of Wales among them--crowded in the evening to toast Fox’s victory at Westminster. Reynolds has perpetuated Mrs. Crewe’s rare beauty on three canvasses, and Sheridan in dedicating to her “The School for Scandal” did reverence to her mind as well as her features. Fox poetised in her praise, and Fanny Burney said “She is certainly the most completely a beauty of any woman I ever saw! She uglifies everything near her.”--THE DANCE (Plate XXVIII.). The tradition, lately repeated in book and periodical, which gives the figures in this print as those of the Gunning sisters, is obviously absurd. When Bunbury was an infant in arms the beauty of the Gunnings first took the town by storm; next year Maria became a countess, Elizabeth a duchess, and, when this print was done the one had been dead twenty-two years, the other already widowed and “double duchessed,” as Horace Walpole put it.--MORNING EMPLOYMENTS (Plate XXIX.). The name on the harpsichord should obviously be Jacobus Kirkman; there was no Thomas. The instrument with the double keyboard is exactly like that in my own possession, which Dr. Burney selected from Jacob Kirkman’s shop in 1768. When a fashionable craze for the guitar was sending the makers of harpsichords and spinets very near to bankruptcy, Kirkman bought up all his own fine instruments, which the ladies were practically “giving away” for guitars; then he purchased a lot of cheap guitars and presented them to milliner’s girls and street-singers, so that they were twanged everywhere and became vulgar, the ladies bought harpsichords again, and he made a large fortune. MADEMOISELLE PARISOT (Plate XXXVII.). A noted dancer in the opera ballets at the King’s Theatre in the Haymarket. There is a beautiful mezzotint of her, dated 1797, by J. R. Smith after A. W. Devis. This is very rare, and in colours extremely so. Mdlle. Parisot also figures as one of the three dancers in Gillray’s caricature “Operatical Reform, or La Danse à l’Evêque,” published in 1798 to ridicule the Bishop of Durham’s protest against the scanty attire of the ballet-dancers.--MARIA (Plate XXXVIII.). Maria of Moulines, in Sterne’s “Sentimental Journey.” MALCOLM C. SALAMAN. [Illustration: PLATE I. “_Jane, Countess of Harrington,_ _Lord Viscount Petersham and the_ _Hon. Lincoln Stanhope._” _Stipple-Engraving by F. Bartolozzi, R.A., after_ _Sir Joshua Reynolds, P.R.A._ (_Published 1789. Size 8¾″ × 11⅛″._) _From the collection of Major E. F. Coates, M.P._] [Illustration: PLATE II. “_Robinetta._” _Stipple-Engraving by John Jones, after Sir Joshua_ _Reynolds, P.R.A._ (_Published 1787. Size 8⅞″ × 10½″._) _From the collection of Major E. F. Coates, M.P._] [Illustration: PLATE III. “_Master Henry Hoare._” _Stipple-Engraving by C. Wilkin, after Sir Joshua_ _Reynolds, P.R.A._