most prominent features of it are the quadrupeds, which form the centre of the upper part of each leaf; these prints are on a scale much larger than the generality of the other drawings. In the first compartment is an elephant, the second bears a hyena, the third at tiger, the fourth a camel, and the fifth a bear. The sixth has no animal upon it. Many of the drawings which cover the remaining surface of the screen are coloured the engravings are in line, mezzotint, or lithograph, with sketches in chalk, pastel, or pencil; in fact, a specimen of every possible variety of the limner's or engraver's art, if oils be excepted, is to be found upon it. It will therefore be easily imagined, that the general effect produced by such a multitude of objects of every colour and form, is on the first coup d'ail very confused: but, on a closer inspection, the attention that has been devoted to arrangement of almost every part, becomes easily discernible; each little pictorial episode, and there are hundreds, is encircled by wreaths and garlands of flowers of every description; the rose predominating, much to the credit of the paster's taste; fruit, and emblems in character with the subject to be illustrated, are also mingled with the flowers; to give an exact description of this glorious piece of fiddle-faddle, the trifling industry of a thoroughly idle man, would be both useless and tedious. I shall therefore merely attempt a slight sketch, in the order in which I examined it, commencing with the first compartment.

On this leaf, as I have before remarked, there is

an elephant, under the neck of which is a full-faced portrait of Napoleon, who, in this case, is the subject to be illustrated. By introducing this animal the Beau intended to express the Emperor's power; but on the throat of the modern king-maker is a butterfly, intended to represent another of his attributes, and to neutralise his greatness. The portrait is encircled by the neck, shoulder, and trunk of this Chouni;1 and the edges of the two drawings, which would otherwise have been discoverable, are concealed by other attributes, as well as by fruit and flowers, cut out and arranged with infinite pains. This plan of concealing the edges was pursued throughout with as much nicety as a sempstress would bestow on the hem of a chemise d'homme. Amongst these emblems, and immediately above the Emperor's head, is a mortar elevated for firing; from the mouth of it proceeds a sword, round which a serpent has entwined itself: a scythe and a flag, with the Russian eagle on it, are crossed above the sword, and the trophy is completed by laurel branches over the emblem of Time. The trumpet of Fame, and a port-fire nearly burnt out, are above the Muscovite colours. The reader can scarcely fail to see the application of these illustrations to Napoleon's history.

Below the elephant, and in the centre of the same leaf, are grouped four coloured portraits; the one on the left hand looking outwards is General Upton, next

1 Chunee, the largest elephant ever brought to England, first appeared in a pantomime at Covent Garden in 1810, was then shown at Exeter Change-now the Lowther Arcade-and on its becoming mad, was shot by a detachment of the Guards.

to him are the late Marquis of Hertford and Lord Sefton, apparently in conversation; and the fourth (to me an inconnu) is on their right, and looking towards them. The general, who has a neck-cloth large enough for three, and a rounded shirt-collar on the same scale, is smelling a sprig of jessamine; a Cupid lolls on his shoulder, as much at ease as the reading Magdalen at Dresden, and is killing, not the general, but Time, with a book, probably Ovid's Art of Love. On the body of the gallant officer, who is thus indulging poor Cupid with a ride a pig-a-back, is pasted an unnatural and classical-looking landscape, representing a forest in the distance, with a rocky foreground; but the principal subject is a young lady, who having thrown aside her harp, is caressing the antlers of a wounded stag. Back to back with the general is the late Lord Sefton, the defect in whose figure Brummell concealed with a flower, probably with the intention of showing that he considered his physical infirmities were entirely overbalanced by his amiable disposition. This he might well do, for he was one of his greatest benefactors. Between his lordship and the marquis is the head of a very lovely woman, ornamented, without the slightest necessity, by a plume of ostrich feathers. The two peers are so placed that it is difficult to say out of whose pocket the divinity is emerging; most likely that of the latter. Lord Sefton is in Hessians, and wears a very peculiar hat. My Lord of Hertford, whose whiskers look as if they were made of leopard's skin, is dressed in a great-coat, and carries a large cane between a pair of