Those talented artists who have so laudably devoted their lofty energies to the delineation of the youthful forms of the Children of the Nobility, have correctly represented them as replete, in all their actions, with elegance. Sleeping on banks of flowers, sitting on rocks and musing o'er flood and field, contemplating with youthful but reflective eye, the beauties of a leaf or rose-bud, standing self-enraptured and Narcissus-like in some exquisite attitude before a mirror, or playing, in unconscious boldness, with a large dog, they seem to us like the denizens of a brighter sphere. Such, indeed, they may with truth be said to be; for, in the spacious park, the fragrant _parterre_, and the splendidly furnished drawing-room, their delicious existence glides away. This, together with their innate refinement, accounts, perhaps, for that beautifully indescribable something that mingles with all they do. So, conversely, the inherited bias, and surrounding circumstances incidental to the Children of the Mobility, may be supposed to explain the very opposite "something" so peculiar to them. We find them perched on stiles and gates, and loitering about lanes and ditches, peering into periwinkles, hopping up and down the steps of door-ways, or setting a couple of mongrels together by the ears. They are not gentle--they are not sylph-like--we search in vain for a nameless grace in their steps, and a depth of hidden meaning in their young eyes. They have never been taught to dance, and their complexions have been sadly neglected. Aided by Mr. Leech's pictures, we shall now take the liberty of introducing our young plebeians into the drawing-room. PLATE I. Miss Margaret Flinn, Master Gregory Flinn, Miss Katherine O'Shaughnessy, and Master Donovan