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 Master Herbert as a Bacchus. He made an error here, for he depicted the god of wine surrounded by lionesses, when, of course, leopards should have figured in the festive scene. The engraver in whose hands the picture was placed saw the mistake, and took it upon himself to add the spots to the lionesses, thereby converting them into leopards in his engraving. He even went further, and painted the necessary spots on the animals on the canvas. One hundred years passed away, and the picture was sent to London to be cleaned and restored, when, to the great dismay of the cleaner, he noticed that as he worked the leopards began to lose their spots! Examination soon showed what was the reason. All the spots were removed, the lionesses appeared in their proper skins, and so the picture now appears.

We reproduce two pictures by Sir Joshua Reynolds. The history of one is as sensational as the other is broadly humorous. They happen, too, to be the stories of a husband and wife.

Mrs. Musters was a great beauty of her day, and in 1778 Sir Joshua painted her. The picture he sent home to Mr. Musters to his seat at Colwick. An application was received from the artist that the canvas should be returned to him, as he desired to make one or two important alterations which would considerably benefit the picture. It was sent back to him, and it remained in his possession seven years. Time after time it was applied for, but all to no effect—it was impossible to get it back; the applicants got nothing but excuse after excuse. At last, in desperation, Sir Joshua declared that he had spoiled the work, and so destroyed it, and to make up for this he painted another of Mrs. Musters in the character of Hebe, after a lapse of seven years. Where was the original picture? It transpired that George IV.—then Prince of Wales—was at that time engaged in making a collection of the beauties of his Court, and had often asked Mr. Musters to allow his wife to sit for her portrait for this purpose. This Mr. Musters firmly refused. The Prince then brought some pressure to bear on Sir Joshua Reynolds to get the picture. How Sir Joshua set to work has already been seen. The painting was afterwards sold at the Pavilion at Brighton, and was purchased by the Earl of Egremont of Petworth, at whose seat it now hangs. It should be mentioned that this is the only instance on record where Sir Joshua did anything to cast a shade upon a character which was in every other respect a truly honourable one. The pressure which