The handsomest of all the boy-portraits of colonial days is that of Samuel Pemberton, by Blackburn; it is perfect in feature and expression; though he is but twelve years old he wears a wig. It was painted in 1736, and boys of good family then wore costly wigs. Mr. Freeman of Portland, Maine, had in his book of expenses of the year 1750, such items as these:

"Shaving my three sons at sundry times Expenses for James' Wig

" Samuel's Wig

The three sons

. £5. 145. 9.

• 9.

Samuel, James, and William

were aged eleven, nine, and seven years. The shav

ing was of their heads. Slaves of fashion were parents of that day to bedeck their boys with such rich wigs.

A more exquisite portrait than that of Thomas Aston Coffin, opposite page 222, can scarcely be found. It is painted in Copley's best manner (shown in the highest perfection in the portrait of his daughter Elizabeth). A light-hued satin petticoat-front shows under a rich full-skirted satin overdress which brushes the ground. The pretty satin. sleeves have white under-sleeves and wrist ruffles, but the neck is cut very low and round. The child holds two pigeons by a leash, and a feathered hat is by his side. This portrait was much loved by its late owner, Miss Anne S. Robbins of Boston.

This charming picture of the Pepperell children, facing page 214, was believed to be by Copley, and included in Mr. Perkins' list. At present this authorship is doubted. It is owned by Miss Alice Longfellow of Cambridge, having been bought by her father, the poet, from the owner of the Portsmouth Museum, who had in some singular way acquired it. The children are William, son of the second Sir William Pepperell, and his sister Elizabeth Royal Pepperell, who married Rev. Henry Hutton. A bright-eyed little girl, Mary Lord, has her portrait, given opposite page 66, hanging in the

rooms

rooms of the Connecticut Historical Society. She was born in 1702, in Hartford, Connecticut, and married, in 1724, Colonel Joseph Pitkin of Hartford. By her side hangs the picture of Colonel Wadsworth and his son, shown opposite page 316. It is the one which the artist Trumbull took to Sir Joshua Reynolds for advice and comment. He was snubbed with the snappish criticism that "the coat looked like bent tin." Other criticism might be made on the anatomical proportions of the subjects.

Copley's genius is shown in the fine portrait of William Verstile, facing page 210, painted in 1769. There is one little glimpse of this boy's boyhood which has so human an element, is so fully in touch with modern life, that I give it. It is from an old letter written by his mother, during a visit in Boston, where possibly this very portrait was painted. It shows the beginning of tastes which found ample scope in his services in the war of the Revolution.

"BOSTON, June 11, 1766.

"My Dear these leaves me and my friends as I hope they will find you for health. I was obliged to stay a fortnight as I didn't set out till the middle of the week from Weathersfield, was obliged to tarry here a fortnight on account of coming with the Post. We got down safe we got into Boston Wednesday afternoon at four o Clock. The Horse seem'd to enter Boston as free & fresh as when

he

he first set out from home. Mr. Lowder says he is a prime horse. He wasn't galled or fretted in the least but would have come right back again. I was a good deal worried as Billey didn't fill the chaise no more, the horse might have brought three as well as two & not have felt it. I have had but very little Comfort since I have bin here on account of Billey as there's so much powderwork going on among the Children since the Illumination Billey has bin very forward of firing iron guns. Since we've bin here its not only the powder amongst the Children but the wharfes being so neare he's down there continually. Johnny Bradford & Ned & Dan Warner and Billey was down the wharfe together when a boy push'd Dan over & lik'd to bin drown'd & might bin Billey so I can't take much comfort on leaving of him but shall bring him, you needn't be Concern'd about threes coming up as Mr. Hide tells me Billey may ride behind him if he's a mind to."

He early

Billey became a portrait painter himself, and got four guineas apiece for his miniatures. showed artistic predilections, and these tastes were well supplied. Interspersed with pumps and hose and hats for Billey are found in his father's purchases "brass deviders," scales, "books for limning," two dozen "hair pencils," and "I box painter's collurs on glass," which cost twelve shillings.

I don't know who taught Billey limning. There was a funny book in circulation among students in that day. It was written in serious intent, but its

rules