No. 27.  The Viscount CROSS looking quite Viscount Cheerful. “Painted for the Grand Jury Room, Lancaster Castle,” the Catalogue informs us.  Suggestive of their arguing among themselves “at cross purposes.”  Painted by SYDNEY HODGES.

No. 77. “On Strike.”  Very striking.  Who could have painted this?  Ah! Who but HERKOMER.  R.A.

No. 82.  Apparently this must have been intended for a portrait of the late Mr. DION BOUCICAULT, but subsequently adapted to represent WALTER GILBEY, Esq.  Looks quite the GILBEY’S “fine, old, dry,” but not “crusted.”  No doubt whatever of its being the excellent work of W(erry) Q(uaint) ORCHARDSON, R.A.

No. 112. “Hanson is as Hanson does.”  By J. HANSON WALKER.  Naturally pleased with “the promise of May,” and

No. 118.  Another Young Lady only Younger.  By the same Artist.

No. 143.  The Right Hon. A.J.  BALFOUR, M.P., as seen by L. ALMA-TADEMA, R.A.  Taken while considering

No. 147.  The Irish Question as represented by Sir FREDERICK LEIGHTON, P.R.A.’s “Perseus and Andromeda.”  Allegory, Andromeda, Ireland. The Monster, “Parnellism and Crime;” and Perseus, BALFOUR.  Marvellous Monster!  DRURIOLANUS should at once order a dozen of ’em, hot and strong, for next Christmas Pantomime.  Poor Miss ANNE DROMEDA,—­“a dainty morsel a croquer,” quoth the Monster.

No. 148.  No possible doubt whatever about this being A. BERTIE; FREEMAN-MITFORD, C.B., painted by the President of the Painters, who has hit him off to the life.  B.M. is taken at the moment when, as a spectator of the Perseus and Andromeda ballet d’action, he remembers having seen something like it in “Old Japan.”

No. 201. “Poor Tom’s a Cold!” LAURENCE SCOTT.  Picture illustrating the shortest and easiest way of catching his death of cold.

No. 206. “Two’s company, Three’s none,” observed the Sun, as blushing deeply, he sank away in the far distance.  By MAURICE GREIFFEN LAGEN.

No. 209.  The original Pieman met by SIMON going to the fair in very full dress.  ARTHUR S. COPE.

No.220. “A Student” of ALMA-TADEMA’S style.  THOMAS R. SPENCE.

No. 231.  “Is it one o’clock?” she said to herself, anxiously.  “I hope luncheon will be punctual.”  The picture will be known as “Grace before Meals,” delightfully (of course) painted by Sir JOHN E. MILLAIS.

No. 232.  By the P.R.A.  “What’s that?” said one well-educated clerical visitor to his matronly wife.  She read it out, pronouncing it thusly, “Return of Percy Fone.”  “What!” exclaimed the Clergyman.  Then, taking the Catalogue into his own hands, he read “Return of Persephone.”  “It’s pronounced,” he informed his help-mate, “Per-s[)e]ph-[)o]-n[)e].”  “Is it?” she returned, in a tone expressive of unmitigated incredulity.  “Then,” she asked suddenly, as a brilliant idea struck her, “why isn’t ‘telephone’ pronounced ’tel-[)e]ph-[)o]-n[)e]’?” And turning her back on him, would not hear another word on the subject.