Two interesting oil pictures showing Charles, third Duke of Queensberry, and his celebrated Duchess, hang near the portrait of Lord Carrington. The Duke, the correspondent of Swift, painted rather dryly and hardly by Miss Ann Forbes, whose work we have already referred to, is seen to below the waist, clad in peer’s robes, the figure turned towards the right. The face, shown in three-quarters, closely resembles that in the cabinet-sized bust in oils at Ballochmyle, and in the mezzotint engraved in 1773, by Valentine Green after George Willison, with the same high cheek-bones, and prominent high-bridged nose, and the eyes are of a warm brown colour; but the face is older than in either of the other portraits, grave and worn, and covered with wrinkles. The companion portrait of the Duchess, “Prior’s Kitty, ever young,” the eccentric patroness of Gay, a work by Aikman, recalls in most of its details her portrait by Charles Jervas, in the National Portrait Gallery, London. She is shown in three-quarters length, slim, graceful, and youthful, clad in a coquettish country costume, a dress of greyish brown, of dainty proportions at the waist, low-breasted, and with short sleeves that display the well-turned arms, with a small white apron, and a little close cap set on the head and almost entirely concealing the dark brown hair. The face, with its blue eyes and fresh delicate complexion, is drooping a little, turned in three-quarters to the left; her left hand rests on the edge of a milk-pail, and her right holds what appears to be a broad round-brimmed hat. The background is a landscape, with rocks and trees rising behind the lady to the left, and with a stretch of green meadow to the right—in which, however, no figures appear, as in the National Portrait Gallery picture,—and a space of blue sky faintly tinged with red towards the horizon. We are informed that these three last-named works were acquired at a sale, about the end of the last century.