(_f_) _The St. Paul’s Deanery Portrait_ (Plate XIV.).--This is a copy of the best known portrait of all, the Kneller at the National Portrait Gallery, and an inferior copy, for it reveals a man of far less distinction, both in character and feature, than the National portrait. The latter is attributed to the year 1711, and is therefore of Wren when he was nearly eighty. (_g_) _The Welbeck Portrait_ (Plate IV.).--The picture is a small whole length on panel. The architect wears a red dressing-gown with white lining, white stockings, and red shoes; his right hand is placed on his hip, and in his left hand he holds a drawing of the elevation of the façade of St. Paul’s. On the left side of the picture there is a lurid sky indicative of the burning of the City; in the right-hand top corner is a bust of Charles II., flanked by an amorino weighing the insignia of royalty (crown, sceptre, etc.), against four shields of arms (England, France, Scotland, and Ireland), and round the waist of the amorino is a scroll lettered “Justum est.” This picture was acquired by the fifth Duke of Portland in 1861. It was then attributed to H. Gascar, who is stated to have been in England _circa_ 1674-80, and who might consequently have painted Sir Christopher soon after he made his design for the new Cathedral. The West Front is shown in the picture with the single Order, an early stage of the design. The architect looks very young for a man of about forty-two years of age, but in the case of painted portraits it is often difficult to reconcile the actual age of a sitter with his _apparent_ age. (_h_) _The Queen’s College Bust._--This posthumous portrait has been attributed to Rysbrack; it is certainly worthy of him. Wren is shown as a very old man. (_k_) _The Medal at Wadham College_ (Plate XVI.).--As it is commonly said that this medal was struck to celebrate the completion of St. Paul’s, it is a little unkind to have to set down the fact that it was cast and chased (not struck) by G. D. Gaale, a German, about the year 1783, when he exhibited it in London, sixty years after Wren’s death in 1723. (_l_) _Art Union of London Medal._--A medal was issued in 1846: obverse, with bust of Wren, signed H. Wilson, Sc.; reverse, St. Paul’s, signed B. Wyon. I hope the above notes may lead people better informed than myself to bring out facts which will enable a full and correct catalogue of Wren portraits to be prepared. Their publication in the Bicentenary issue of _Architecture_ brought Mr. Richard W. Goulding to my aid in correcting some mistakes I then made, and he has added the facts about the Welbeck portrait. A list of engravings after the Kneller portrait is given in Mr. F. O’Donoghue’s “Catalogue of Engraved English Portraits in the British Museum.” INDEX Abbey, Westminster, Wren and, 137, 138, 139 Aims of architecture, Wren on the, 153