represented in the painting. Several artists examined the picture, and they pronounced it the work of an artist of ability and experience. The signature “D. M. pinxt” was carefully examined, but no one was able to throw any light upon the name represented by the initial letters “D. M.” While this painting contained within itself evidence of its great value as a likeness of its subject, it lacked confirmation as “true to the life;” and nothing could supply this lack but to find a portrait of the same horse, painted by another artist, and then if the two agreed, the proof would be fully satisfying to the understanding. A little over a hundred years ago Lord Francis Godolphin Osborne, Duke of Leeds, and heir to Lord Godolphin, wrote Sir Charles Bunbury, a great race-horse man, that he had a painting of Godolphin Arabian, by Wootton, at Gog Magog Hills. Over sixty years ago an American gentleman wrote to Mr. Skinner’s magazine that he had seen a painting of Godolphin Arabian hanging in Houghton Hall, Norfolk. In 1878 my physician told me I must quit work for awhile, and that I had better visit the great Exposition at Paris that year. I was anxious to see the Fair, but I was a great deal more anxious to see those two paintings of Godolphin Arabian, if they were still in existence. Gog Magog Hills is a quaint old place, and the origin and meaning of its name is lost in a very remote antiquity. As it has not been the residence of its owners for more than a hundred years, it is much neglected. The people in charge were very obliging, and I was immediately admitted to the view of Wootton’s painting of Godolphin Arabian. The first glance was a complete vindication of the truthfulness of the Maryland painting as a true likeness in every important feature of the outline and proportions. The canvas is about four and a half by four feet, inclosed in a massive frame. After studying it and comparing it, point by point for more than an hour, with a copy of the Maryland painting, it became evident they were not painted by the same hand, although the horse had the same position in both pictures, with the exception that the right hind foot was thrown backward in the Wootton painting instead of forward, and thus gave a less abrupt droop of the rump. The head was precisely the same shape, but in the large painting the articulations were less distinct and expressive.