(_a_) _Wren as a Man of Forty_ (Plate II.).--When I saw this, it was in the possession of the late Mrs. Catherine Pigott. It is now, I believe, in the possession of the Bishop of Southwell, to whom it passed on Mrs. Pigott’s death. It is unsigned, and there is no record as to its authorship. It shows Wren as a young man, and I had thought it represented him while in the twenties. Mr. Richard W. Goulding, F.S.A., dates the cravat about 1675, which would make Wren forty-three. The modelling of the face is not unlike that of the Pearce bust, which tends to confirm the age as about forty. (_b_) _The Wadham College Portrait_ (Plate XIII.).--This is in itself a poor piece of painting, and has a vague history. It is an 1825 copy by John Smith, of Oxford, deriving ultimately, it is said, from a Kneller portrait at Lambeth Palace, which, I am informed, has disappeared. It seems rather to be based on the Sheldonian portrait, which was attributed by Dallaway to Thornhill, “painted in conjunction with Verrio and Kneller.” I give the unlikely story of its authorship as it is told, adding only that as the plan in Wren’s hand shows the St. Paul’s of the Warrant Design or later, it must be after 1675, and therefore Wren is depicted as a man of forty-three or more, probably a good deal more, for he is markedly older than in the last mentioned. (_c_) _Bust by Edward Pearce at the Ashmolean_ (Plate V.).--This beautiful work has been dated 1673, by a letter written by Christopher, the architect’s son, and quoted by Mr. Lionel Cust. It may well be Wren as a man of forty-one, and the younger Christopher’s date can be accepted, but he was very casual in his chronologies. (_d_) _The Royal Society Portrait._--The legend on the frame says this picture is by Michael Wright, but Mr. Collins Baker attributes it, on the ground of style, to Riley and Closterman in collaboration. He claims that it is the basis of the Kirkall engraving (see next note). If so, Kirkall turned the face the other way. The view of St. Paul’s shows a transitional design between the Warrant Design with its nightmare steeple and the dome as built. The clock towers are almost exactly like the intermediate design preserved at All Souls. I suggest it shows a man of seventy. (_e_) _The Kirkall Engraving after Closterman_ (Plate XV.).--This rare portrait was given to me by Mrs. Pigott shortly before her death, and apart from its having been, as she told me, an heirloom in the Wren family, it has an interest as showing Elisha Kirkall’s “chiaroscuro” style of engraving interpreting Closterman’s portrait.