Untouched enlargement of an exact photographic copy of the original Nicholas Hilliard miniature bound in Queen Elizabeth's prayer book which was all in her own hand.

Reproduced by kind permission of Miss Whitehead, whose father, the late great collector of miniatures, is the last known owner of the prayer book, which has disappeared since 1892

are present across the whole width of the supra-orbital region. The eyes of No. 1 could become those of No. 5. The nose, however, of No. I seems at first sight to differ materially from that of No. 5. The damsel is represented in No. 1 with a particularly long nose. We have to judge its exact shape in an almost full-faced portrait; whereas in No. 5 we have the nose partially in profile. The nose certainly does change in the 3rd, 4th, and 5th decades of life-particularly in women after the menopause. There is a suspicion of the hook in the damsel's nose; I would not deny that a nose portrayed as in No. 1 at seventeen may not become the nose in No. 5 at sixty. The lips and mouth of No. 1 could become the lips and mouth of No. 5. The long oval face of the girl may become shortened by the loss of teeth. The fat which smooths and fills the cheeks of youth does disappear; and we may get the shortened, sunken jowls of the older woman represented in No. 5. She is portrayed as a girl with particularly long, delicate, nervous fingers. In both portraits we have an abundant representation of finery. The girl portrayed in No. 1 is not an uncommon English type. With a bodice such as the artist has depicted, the organs of the body must have worked under great stress and difficulty.

In Portrait No. 6-an enlargement of another of Hilliard's miniatures—we have the same ample forehead. The eyes are worked in quite differently, but, I dare to think, more truthfully, than in the two portraits just discussed. We have here, I should guess, a portrait of an intermediate stage in life-a woman near her thirtieth year. We notice a trace of the same ear-cheek fold as in No. 5. The nose, too, in its shape seems to represent an inter-stage between Nos. 1 and 5. The mouth is narrow and pouting. The change is in the upper lip, which is shapeless and swollen. The chin, however, is the chin of No. 5. I have no difficulty in believing this to be a portrait of the same person as Nos. 1 and 5. The upper eyelids are puffy. There is the same rich array of finery as in the other two portraits.

In Portrait No. 4-an allegorical picture of Elizabeth's youth-we have one which is difficult to harmonize with the three discussed above. It is true we have the same wide, full forehead, retreating amongst the hair on the crown. The eyes are round and otherwise different, the cheeks are particularly high and prominent, the nose is almost straight-certainly not aquiline. The upper lip is long, the chin narrow and prominent. I cannot believe this to be a portrait of the same