The lady in front of him (6), who formerly stood for Catherine of Braganza, now represents Maria Louisa of Savoy, the first wife of Philip V. of Spain (fortunately for him not such a firebrand as his second wife proved to be). She turns to her handsome young husband (7) (here somewhat libellously represented by the whilom “Old Hatchet Face”) who has just renounced for himself and descendants all claims of succession to the crown of France. His right hand rests on the scroll of “charters” as before, but the document in his left now bears the legend: “Leli afstand onder Conditie” (The lily to surrender under conditions). Passing almost to the extreme right of the picture, the eagle-helmeted figure (8) which {213} before represented the Emperor Leopold I. now represents his son Charles VI., “Le Seigneur juste de la Cour d’Orient et Occident.” Clutching his huge sword, he expresses the anger of the Imperialists at the project for peace between England and France. In the end he refused to concur in the peace of Utrecht, and continued at war with France until 1714. On either side of him are two figures numbered alike (9, 9). That on his right, which bears the word “Wigh” engraved on his hat, represents the Duke of Marlborough, the deposed military leader of the Whigs. That on his left is one of the Duke’s followers, who, by his drawn sword, points the allusion of the librettist to the “Pacificateur par le fer.” To the extreme right of the picture (10) the Pope, now Clement XI. in place of Innocent XI., encourages Polignac in his efforts for peace, and promises him “La Pourpre” as his reward. Returning to the middle background of the crowd we find (11, 11) two Jesuits. The one who looks over the left shoulder of No. 7 was in the first state of the plate a doctor of the {214} Sorbonne. The index number of this figure is now on his hat. Originally it was on the pillar above him. This the adapter has apparently attempted to turn into a rough ornamentation by the addition of parallel strokes. Becoming dissatisfied, he has crossed out the whole by irregular horizontal lines. To the left of figure 7 is seen (12) the Pretender, the surreptitious infant of the original, now grown to manhood, whispering in Philip of Spain’s ear that though he claims as a Protestant the throne of his father, he is in his heart of the Romish faith. This figure originally represented the midwife, but has been metamorphosed by the addition of a man’s hat, wig, and ruffles.