In the Victoria and Albert Museum there is a large portfolio with examples of scissor-work and black portraiture. Amongst the specimens are many of the perforated shadow-throwing type, some well-known pictures being thus reproduced. They were bequeathed by the Rev. Chauncey Hare Townshend, and consist of shadow and silhouette pictures and portraits “done by C. H. Townshend and his family.” This donor also bequeathed many paintings to the Museum. Little groups, such as “A Child and a Goat,” “Children Playing,” “A Lady holding up a Child,” give glimpses into the domestic scenes it was considered pleasing to portray in silhouette. Some of these are done by Charlotte Townshend; some by other members of the family. There is no very great interest attaching to these amiable records of a bygone day. “Copied by Mrs. Wigston from Lady Templetown’s designs” gives us an insight into the part played by those not sufficiently skilful to originate but who, by copying, could take their share in the fashionable pastime. The late Andrew W. Tuer, who was keenly interested in the subject of silhouettes, wrote thus in _Notes and Queries_ concerning silhouettes of children:—“Much should I like to know who designed and cut out in black paper a remarkably clever series of about eighty minute silhouettes of child life, mainly groups. They are loosely placed in a book of blank leaves bound in contemporary citron morocco, lettered on the front ‘M. G.’ To some the artist has written a verse, and to others a date—the earliest 1796, the latest 1806. Inferentially, the work is that of gentlefolk. Between two of the leaves is a piece of black paper, on the reverse or white side being written ‘J. Poulett, Twickenham, Middlesex,’ and on another piece of paper the name ‘Lucy’ is cut out in silhouette.” Later Mr. Tuer wrote:—“From the Earl Poulett I gather that these interesting and clever silhouettes were probably the handiwork of the first wife, whose initials were A. L., of the fourth Earl Poulett, of Poulett Lodge, Twickenham. What the initials M. G. stand for his lordship does not know. “ANDREW W. TUER. “The Leadenhall Press, E.C.” Though more a note-book than a scrap-book, an interesting relic of the laborious methods of Lavater must be mentioned here. This volume, which is one of the chief treasures of the Wellesley collection, is a small leather-bound book, in which the philosopher pasted the silhouette portraits of those persons whose heads he wished to measure, study, and compare with others in his collection, and then to pronounce judgment upon as to their mental and moral qualities. The fact that Goëthe was for a time enthusiastic with regard to Lavater’s work casts a glamour over the little book, with its many pictures and vast store of minutely written notes.