This miniature is particularly charming in its domestic quality. Madame de Lamballe is shown in her room, engaged in making a wreath of flowers, and every detail concerning her occupation, and the room in which she is seated, is delightfully rendered; but the whole composition is kept so well in hand that the details do not obtrude, nor in any way draw aside the attention from the fair countenance of the lady herself. The work of Pierre Pasquier is very rare, and not a single example of it is to be seen in the Louvre. He was born in 1731, and died in 1806. He worked largely in enamel, and a great many of his portraits appear on the wonderful snuff-boxes which were given to ministers or eminent diplomatists. Several of them are in Russia. He was distinguished by an unerring perfection of draughtsmanship, and this is especially set forth in his profile portraits, one of which, signed and dated, we illustrate from Mr. Morgan's collection (Plate XXXVIII., No. 2). It is probably the finest example of Pasquier's work in existence, and is little more than a sketch in black on ivory, with a steel-blue background, the ivory being left clear where the portrait appears. We do not know who it represents, but it was probably a study for an enamel left incomplete. It is dated 1786, and in its rigid economy of line, exquisite low-toned scheme of colour, and perfection of drawing, occupies an exceedingly high place in miniature painting, and leaves us only regretful that we are ignorant of the name of the sitter. The example we illustrate of the miniature work of Fragonard must also be anonymous (Plate XXXVIII., No. 1). It is a boy's portrait, and has been said, with a certain amount of evidence, to represent one of his own sons, it certainly does resemble a sketch of one of Fragonard's children, which the artist has named, but not sufficiently for us to be sure respecting the accuracy of the attribution. No one, however, but Fragonard could have painted it, the colour is so daintily placed upon the ivory as to give the effect of having been wafted upon the material, and resting upon it with a feathery lightness. There is generally a good deal of yellow in Fragonard's portraits, or else the colour scheme is mainly grey and white, and this portrait belongs to the second division we have mentioned. It is very pleasing, the face of a quiet, thoughtful child, charmingly represented, and a good example of the work of one of the greatest decorators France ever knew. Fragonard's miniatures are rare, we may add, very rare, and probably no one has such a collection of them as is to be found in the cabinets of Mr. Pierpont Morgan.