possesses one of his rare half-length portraits, depicting Elizabeth, Countess of Devonshire, as a girl, and in the Victoria and Albert Museum is a large square portrait of the painter, by himself. With these exceptions, the majority of Cooper's works are ovals, varying in size, representing the head and shoulders only, and almost all the great collections of miniatures possess examples by the painter. As a rule, his colours have stood extraordinarily well; in some instances, however, they have faded, but it has generally been owing to damp or to indifferent treatment on the part of the owners of the portraits. In Mr. Pierpont Morgan's collection one miniature representing _Lord Loudoun_ (Plate VII., No. 2) is in extraordinarily perfect condition, but for a couple of generations it was lost sight of behind some oak panelling and has only recently come to light. Another very fine one, in the same collection, represents _Charles II._ (Plate VII., No. 1). Cooper's method of painting is very interesting, and as he has left behind several unfinished portraits, we are enabled to study it with considerable accuracy. It is clear that he commenced to draw the head and figure in brown, and, as a recent writer has pointed out, painted in the shadows with transparent sienna, and the half-tones with a pure grey blue. His work is executed upon vellum as a rule, but sometimes upon cardboard, and his flesh tints are nearly always transparent, although occasionally they are upon a white background, and in some few rare instances, where he desired special effect, he used opaque colours. Several of his portraits he has never carried beyond the early stages. They are only sketches, but such sketches as no one else could have done, exquisitely rendered, full of palpitating life. This is especially the case with the portrait of the Duke of Albemarle at Windsor, and with one in the same collection representing the Duke of Monmouth; with that of Oliver Cromwell, at Montagu House, and with an extraordinary little sketch, which we illustrate in colour, by permission of Sir Charles Dilke (Plate IX., No. 1). This also came from Strawberry Hill, where it was bought by the grandfather of its present owner, and it offers a bewildering problem to the student. Walpole declares, in an inscription on the back of it in his own handwriting, that it represents "Miss Temple, Maid of Honour to the Duchess of York, second wife of Charles Lyttelton," and that it was the work of Gervase Spencer, after an original painted by Cooper, in the possession of Lord Lyttelton, and Walpole ought to have known what he was talking about. It is quite possible that he is correct, but the original portrait from which this sketch is said to have been made is not now in the possession of the Lyttelton family, and the miniature itself bears such a striking resemblance to the work of Cooper that it is difficult to believe that it is a copy by anyone at all. We know how constantly Cooper's work was