Lady Dorothy Nevill is the owner of a most interesting relic of this favourite pastime of a royal princess. It is the original scrap-book given by Princess Elizabeth to her friend, and is filled with every variety of cutting executed by the princess herself. The book is of dark blue morocco leather, 9 inches by 6 inches in size. On its silver lock and clasp is the initial of the royal donor, and between the pages are the little gem cuttings, a selection of which we are able to reproduce here. Many varieties of silhouette cutting are shown; none of the specimens are gummed into the book, or, if they have been, the mucilage has perished. Faint pencil notes head the pages, and the cuttings are placed separately between the leaves. Some of the groups are cut out in black paper; some, notably the shadow perforation type, are in white paper; and some are painted in Indian ink and then cut out. The groups of children playing are most animated; there is real movement in the baby toddling downstairs held by ribbon strings by its nurse. The portraits of Queen Charlotte and King George III., the parents of the artist, are naturally of great interest. These have a note on the page in which they lie that they were taken in the year 1792. They are drawn in Indian ink, and not cut, and those who have had occasion to examine the profiles of the king and queen will at once see that Princess Elizabeth was proficient in catching a likeness. There are two other bust portraits of George III. in this interesting scrap-book, and a full-length picture in black profile, in which the stiff coat-tails and dangling court sword or rapier are admirably portrayed. The cutting of the shadow perforation pictures seem to have been an agreeable variety in scissor-work. These strange silhouettes were so cut that, on holding a light at a particular angle behind the picture, a shadow was cast by it which resembled some special character or object group. Thus the head of Christ is thrown in shadow upon any white surface when the strange-looking mask is held up between the candle and the board; the child on the rocking-horse is arranged for the same effect, which thus reverses the shadow portraiture of long ago.