The bath is of marble, inserted in the floor, with which its surface is level. On the ceiling over it is a painting of Flora, scattering flowers with one hand, while from the other is suspended an alabaster lamp in the form of a lotus.” R. R. MADDEN: ‘Literary Life and Correspondence of the Countess of Blessington.’ * * * * * [Sidenote: Her Ladyship’s luxurious taste.] Her taste in everything was towards the gay, the superb, the luxurious; but, on the whole, excellently good. Here eye was as quick as lightning; her resources were many and original. It will not be forgotten how ... she astounded the opera-goers by appearing in her box with a plain transparent cap, which the world in its ignorance called a Quaker’s cap; and the best of all likenesses of her, in date later than the lovely Lawrence portrait, is that drawing by Chalon, in which this tire is represented, with some additional loops of ribbon. So, too, her houses in Seamore Place and at Kensington Gore were full of fancies which have since passed into fashions, and which seemed all to belong to and to agree with herself. Had she been the selfish sybaritic woman whom many who hated her, without knowing her, delighted to represent her, she might have indulged these joys and costly humors with impunity; but she was affectionately, inconsiderately liberal. HENRY F. CHORLEY: ‘Autobiography, Memoir, and Letters,’ compiled by H. G. Hewlett. London: Richard Bentley & Son, 1873. * * * * * The following sketch was taken from the “Ring” in Hyde Park: [Sidenote: Her chariot.] “Observe that green chariot just making the turn of the unbroken line of equipages. Though it is now advancing towards us with at least a dozen carriages between, it is to be distinguished from the throng by the elevation of its driver and footman above the ordinary level of the line. As it comes nearer, we can observe the particular points that give it that perfectly _distingué_ appearance which it bears above all others in the throng. They consist of the white wheels lightly picked out with green and crimson; the high-stepping action, blood-like shape and brilliant _manège_ of its dark bay horses; the perfect style of its driver; the height (six feet two) of its slim, spider-limbed, powdered footman, perked up at least three feet above the roof of the carriage, and occupying his eminence with that peculiar air of accidental superiority which we take to be the ideal of footman perfection, and finally, the exceedingly light, airy, and (if we may so speak) intellectual character of the whole set-out. The arms and supporters blazoned on the centre panels, and the small coronet beneath the window, indicate the nobility of station; and if ever the nobility of nature was blazoned on the ‘complement extern’ of humanity, it is on the lovely face within.” P. G. PATMORE: ‘My Friends and Acquaintance.’ * * * * *