So far as these canvases are concerned, there is no doubt that the majority of them have been destroyed; but there are still in existence a large quantity of drawings and sketches on paper, both in pencil and in India ink, for classical compositions. As many of these are probably rough ideas for his lost pictures, it is perhaps worth mentioning a few of the subjects enumerated by Cunningham among the unfinished productions, which may help to identify the sketches, besides, as Cunningham says, “showing the range of his mind, and also his want of patience to render his works worthy of admission to public galleries.” The principal are as follows: _King Lear Asleep_, _King Lear Awake_, _Ceyx and Alcyone_, _The Death of Niobe’s Children_, _The Cumean Sibyl Foretelling the Destiny of Aeneas_, _Electra and Orestes at the Tomb of Agammemnon_, _Thetis Supplicating Jupiter_, _Thetis Comforting Achilles_, _Damon and Musidora_, _Homer Reciting his Verses_, _David and Saul_, _Macbeth and Banquo_, _The Descent of Odin_, _The Ghost of Clytemnestra_, _Eurydice vanishing from Orpheus_, _Harpalice_, _A Thracian Princess defending her wounded Father_, _Antigone with the Corpse of Polynices_, _A Witch displaying her Magical Powers_, _Resuscitation by Force of Magic_, _Doll Tearsheet_, _Cupid and Psyche_. Besides these there are a number of portrait sketches, which though not so numerous, are much more charming, in spite of their being exceedingly rough and slight. They must have been simply notes, and can seldom have been intended for more than fixing an idea in the painter’s mind. I have as many as a dozen in my own possession which I have picked up here and there in the dealers’ portfolios, and there are probably a good number of them in existence. Rough as they are, they are certainly deserving of more attention than is usually accorded to them; for though Romney never seems to have enjoyed the process of committing a portrait to paper as Gainsborough did, these business-like notes of pose and chiaroscuro give us a good insight into his methods of setting to work. Perhaps the taste of a future generation will prefer the rough-hewn idea of a great portrait painter to the finished achievement of Benwell or Buck in little. INDEX Boydell, Alderman, 26 Cathcart, Lord, 35 Chamberlin, Mason, 2 Cimabue, 5, 30, 34 Copley, John Singleton, 8 Copley’s _Death of Chatham_, 9 Correggio, 34 Cumberland, 23, 46 Cunningham, Allan, 13, 19, 41 Currie, Mrs. Mark, 3, 31, 35, 36 Dalton, 46 Exhibition of National Portraits, 40 Flaxman, John, R.A., 15, 30, 31, 32, 34 Fuseli, Henry, R.A., 9 Gainsborough, Thomas, 11, 16, 17, 28, 40 Garrick, David, 23, 24 Giotto, 30, 34 Hamilton, Lady, 13, 41-43 influence on Romney’s painting, 51 Romney’s portraits of, 45 Hayley, William, 13, 25, 47 influence over Romney, 14, 20 Highmore, 23 Hogarth, William, 23 Holbein, Hans, 5 Kauffmann, Angelica, 9 Michelangelo, 30, 34 Northcote, James, R.A., 7