were set. Miss Helen Farquhar has with great skill elaborated a theory which tends to prove this, and which appeared in a recent issue of the "Numismatic Chronicle." Certain jewels and miniature cases have been in the past attributed to the artist, and the result of Miss Farquhar's investigation is to make it more clear that such attribution has been accurate. Hilliard painted Queen Elizabeth many times, and amongst our illustrations will be found a portrait of the Queen (Plate II.) from the cabinet of a well-known collector, which sets forth the artist's peculiar technique. We also present an interesting example from Mr. Pierpont Morgan's collection which has been called a portrait of _Mary Queen of Scots_ (Plate III., No. 2). It is dated 1581, and is certainly one of the few portraits which seems to stand the test of comparison with the well-known drawing and miniature of Mary Stuart attributed to Clouet. It is undoubtedly the work of Hilliard, and of remarkable excellence, and takes its place amongst the more or less mysterious portraits bearing the name of the ill-fated Queen. Hilliard died in 1619, and appears to have been succeeded in his royal appointments and his professional work by his son Laurence, whose paintings so closely resemble those of the father that it is not always easy to distinguish the work of the two men. Very few of Laurence Hilliard's works are signed; there are two belonging to Earl Beauchamp, and one in the collection of Mr. Pierpont Morgan. The main feature of the son's work consists in the beauty of the calligraphy in the inscriptions around the portraits. It is clearer than the more formal handwriting of the father, but florid, full of exquisite curves and flourishes, and very elaborate, while the colour scheme adopted by the son is distinctly richer and more varied than that used by the father, and the composition is not quite so rigid and hard as was that of Nicholas.