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+*** START OF THE PROJECT GUTENBERG EBOOK 40532 ***
+
+  PORTRAIT
+  MINIATURES
+
+  TEXT BY
+  Dr. GEORGE C. WILLIAMSON
+
+  EDITED BY
+  CHARLES HOLME
+
+  MCMX
+  'THE STUDIO' LTD.
+  LONDON, PARIS, NEW YORK
+
+
+
+
+PREFATORY NOTE.
+
+
+  The Author and Editor desire to express their grateful thanks to Fürst
+  Franz Auersperg, Sir Charles Dilke, Bart., Dr. Figdor, Mr. E. M.
+  Hodgkins, Lord Hothfield, Mr. J. Pierpont Morgan, Lady Maria Ponsonby,
+  Mr. J. Ward Usher, Gräfin Emma Wilczck-Emo-Capodilista, and the
+  anonymous collector, who have so kindly placed their treasures at
+  their   disposal, and permitted them to be illustrated in these pages.
+
+
+
+
+  _The copyright of all the illustrations in this volume is strictly
+  reserved by the author on behalf of the respective owners of the
+  miniatures._
+
+
+
+
+ILLUSTRATIONS IN COLOUR.
+
+
+
+  Plate    II. "Queen Elizabeth." By Nicholas Hilliard.
+
+    "      IV. "A son of Sir Kenelm Digby." By Isaac Oliver (1632).
+
+    "       "  "Frederick, King of Bohemia." By Isaac Oliver.
+
+    "       "  "Queen of Bohemia." By Isaac Oliver.
+
+    "       V. "The Duke of Buckingham." By John Hoskins, the Elder.
+
+    "    VIII. "Colonel Lilburne" (1618-1657). By Samuel Cooper.
+
+    "       "  "Viscountess Fauconberg, daughter of Oliver
+                 Cromwell." By Samuel Cooper.
+
+    "      IX. "Miss Christian Temple." By or after Samuel Cooper.
+
+    "       "  "Rachel Fane, Countess of Bath and later of
+                 Middlesex" (1612-1680). By David des Granges.
+
+    "       X. "John Milton." Artist unknown.
+
+    "      XI. "George, Prince of Denmark." By Christian Richter.
+
+    "    XIII. "Viscountess St. Asaph (_née_ Lady Charlotte Percy),
+                 second wife of George, Viscount St. Asaph,
+                 afterwards third Earl of Ashburnham." By
+                 Richard Cosway, R.A.
+
+    "      XV. "Lucy, wife of William H. Nassau, fourth Earl
+                 of Rochford." By Richard Cosway, R.A.
+
+    "     XVI. "H.R.H. Princess Charlotte of Wales" (1796-1817).
+                  By Richard Cosway, R.A.
+
+    "    XVII. "Henry Tufton, eleventh and last Earl of Thanet"
+                 (1775-1849). By Richard Cosway, R.A.
+
+    "     XIX. "The Hon. Edward Percival, second son of John,
+                 second Earl of Egmont" (1744-1824). By
+                 John Smart (1801).
+
+    "       "  "The Hon. Mrs. Edward Percival." By John Smart.
+
+    "      XX. "Earl Beauchamp." By George Engleheart(1805).
+
+    "    XXII. "Mrs. Sainthill." By George Engleheart.
+
+    "       "  "John Jelliard Brundish, M.A., Smith Prizeman
+                 and Senior Wrangler in 1773." By George Engleheart.
+
+          XXV. "Elizabeth, Margaret Caroline, and Antoinette,
+                 daughters of John Ellis, Esq., of Hurlingham.
+                 Middlesex, and Jamaica." By Andrew Plimer.
+
+    "    XXVI. "Selina Plimer." By Andrew Plimer.
+
+    "   XXVII. "The Sisters Rushout." By Andrew Plimer.
+
+    "  XXVIII. "Mrs. Bailey, wife of Lieutenant Bailey, who was
+                 present at the storming of Seringapatam in
+                 1799." By Andrew Plimer.
+
+    "    XXIX. "Sir Charles Kent, Bart., as a child." By
+                 Andrew Plimer (1786).
+
+    "       "  "Mrs. Dawes." By Nathaniel Plimer (1798).
+
+    "     XXX. "Charlotte, Duchess of Albany, daughter of Charles
+                 Edward Stuart by Clementina, tenth daughter
+                 of John Walkenshaw" (1753-1789). By Ozias Humphry.
+
+    "       "  "Mary, wife of the eighth Earl of Thanet" (ob.
+                 1778). By Ozias Humphry.
+
+    "    XXXI. "Lieutenant Lygon." By John Smart, jun. (1803).
+
+    "   XXXII. "Lady Mary Elizabeth Nugent, afterwards Marchioness
+                 of Buckingham, and in her own right,
+                 Baroness Nugent" (ob. 1812). By Horace Hone.
+
+    "       "  "The Rt. Hon. William Pitt." By Horace Hone.
+
+    "  XXXIII. "Miss Vincent." By Vaslet of Bath.
+
+    "   XXXIV. "The Countess of Jersey." By Sir George Hayter (1819).
+
+    "    XXXV. "Louis XIV." By Jean Petitot, the Elder.
+
+    "      XL. "The Empress Josephine." By Jean Baptiste Isabey.
+
+    "       "  "The Empress Marie Louise." By Jean Baptiste Isabey.
+
+    "     XLI. "Catharine, Countess Beauchamp." By Jean
+                 Baptiste Isabey.
+
+    "    XLII. "Fürstin Katharina Bagration Skawronska." By
+                 Jean Baptiste Isabey (1812).
+
+    "     XLV. "Madame Récamier." By J. B. Jacques Augustin.
+
+    "    XLVI. "Marie Antoinette." By M. V. Costa.
+
+    "   XLVII. "Princess Pauline Borghese." By B. Anguissola.
+
+    "  XLVIII. "Prince Franz W. Hohenlohe." By Heinrich
+                 Friedrich Füger.
+
+    "    XLIX.  "Portrait of a Lady--name unknown." By Heinrich
+                 Friedrich Füger (circa 1790).
+
+    "      L.  "Empress Maria Theresia, second wife of the
+                 Emperor Francis I. of Austria." By Heinrich
+                 Friedrich Füger.
+
+    "      LI. "Marie Theresia, Countess von Dietrichstein." By
+                 Heinrich Friedrich Füger.
+
+    "     LII. "Fürstin Anna Liechtenstein-Khevenhuller." By
+                 Heinrich Friedrich Füger (circa 1795).
+
+    "    LIII. "Portrait of the Artist." By Giovanni Battista de Lampi.
+
+    "     LIV. "Gräfin Sophie Nariskine." By Moritz Michael
+                 Daffinger (circa 1835).
+
+    "      LV. "Portrait of a Lady--name unknown." By Emanuel Peter.
+
+    "       "  "Gräfin Sidonie Potoçka-de Ligne." By Emanuel
+                 Peter (circa 1820).
+
+    "     LVI. "Portrait of the Artist" (1793-1865). By Ferdinand
+                 Georg Waldmüller.
+
+
+ILLUSTRATIONS IN MONOTONE.
+
+  Plate     I. "Mrs. Pemberton." By Hans Holbein.
+
+    "     III. "Mary, Queen of Scots." By Nicholas Hilliard.
+
+    "       "  "Philip II., King of Spain." By Isaac Oliver.
+
+    "       "  "Queen Anne of Denmark." By Isaac Oliver.
+
+    "      VI. "Queen Henrietta Maria." By John Hoskins, the Elder.
+
+    "     VII. "Charles II." By Samuel Cooper.
+
+    "       "  "John, Earl of Loudoun." (1598-1662). By Samuel Cooper.
+
+    "     XII. "Madame du Barry " (1746-1793). By Richard Cosway, R.A.
+
+    "     XIV. "Lady Augusta Murray, wife of the Duke of
+                 Sussex." By Richard Cosway, R.A.
+
+    "       "  "Henrietta, Lady Duncannon, afterwards Countess
+                 of Bessborough" (ob. 1821). By Richard Cosway, R.A.
+
+    "   XVIII. "Sir Charles Oakeley" (1751-1826). By John Smart.
+
+    "       "  "Portrait of a Lady--name unknown." By John Smart.
+
+    "     XXI. "Miss Mary Berry." By George Engleheart.
+
+    "   XXIII. "Rebecca, Lady Northwick" (ob. 1818). By Andrew Plimer.
+
+    "    XXIV. "The Hon. Harriet Rushout" (ob. 1851). By Andrew Plimer.
+
+    "       "  "The Hon. Anne Rushout" (ob. 1849). By Andrew Plimer.
+
+    "       "  "The Hon. Elizabeth Rushout" (ob. 1862). By Andrew Plimer.
+
+    "   XXXVI. "Charles I." By P. Prieur.
+
+    "       "  "Mary, Duchess of Richmond and Lenox" (1623-1685).
+                 By Jean Petitot, the Elder (1643).
+
+    "  XXXVII. "Madame Dupin" (ob. 1799). By Jean Marc Nattier.
+
+    "       "  "The Countess Sophie Potoçki" (ob. 1822). By P. A. Hall.
+
+    "       "  "La Princesse de Lamballe" (ob. 1792). By P. A. Hall.
+
+    " XXXVIII. "Portrait of a Boy--name unknown." By Jean
+                 Honoré Fragonard.
+
+    "       "  "Portrait of a Lady--name unknown."
+                 By Pierre Pasquier (1786).
+
+    "   XXXIX. "A Grand-daughter of Nattier, the Artist."
+                 By Louis Sicardi.
+
+    "       "  "La Marquise de Villette" ("Belle et Bonne"). By Garriot.
+
+    "   XLIII. "La Princesse de Lieven (_née_ Dorothy Benckendorff)"
+                 (1784-1857). By E. W. Thompson.
+
+    "       "  "Queen Hortense and her son, afterwards Napoleon III."
+                 (1808-1873). By Jean Baptiste Isabey.
+
+    "    XLIV. "Madame de Boufflers" (1725-1800). By J. B.
+                 Jacques Augustin.
+
+    "       "  "The Father of Madame Seguin." By J. B. Jacques Augustin.
+
+
+
+
+PORTRAIT MINIATURES. By Dr. G. C. Williamson.
+
+
+A recent French writer, in referring to the art of portrait painting,
+exalted it to the highest rank, proclaiming it the greatest of all arts.
+He then proceeded, by a series of curious antithetical sentences, to set
+forth his opinion of portrait painting, stating that it was at once the
+oldest and the most modern of arts, the easiest and the most difficult,
+the simplest and the most abstruse, the clearest and the most subtle.
+His statement, it is clear, contained a definite basis of truth, coupled
+with a certain interesting extravagance of expression. It is quite true
+that to draw a portrait was the aim of the very earliest of draughtsmen,
+whether it was that of his companion or of one of the beasts of chase,
+and whether he carved it on a bone, or daubed it on the wall of his
+dwelling. The first endeavour, also, of a child, playing with a pencil,
+or a brush, is to draw a portrait, and the very simplest outline does
+occasionally reveal that an idea of portraiture is latent in the mind of
+the young artist. If only simplicity of line is desired, nothing can be
+more simple, while at the same time nothing is more perfect, than the
+outline or profile drawing of such a great artist as Holbein, or the
+work of some of the early French draughtsmen.
+
+At the same time, the subtlety of this draughtsmanship cannot be denied.
+For complexity and difficulty, portraiture takes a supreme place, and
+yet, on the other hand, as the Frenchman points out in his antithetical
+sentences, it is to a certain extent a simple art, and we all know
+artists who are able with a piece of chalk to suggest an even startling
+likeness which they would be quite unable to complete into the form of a
+perfect portrait. Many a painter thinks at first that portraiture is
+simple and easy, in fact he finds it so, but the older he grows, the
+more does he realise that the human features are complex in the extreme,
+and that the variations of expression make the difficulties in the task
+of portraying them enormous. From very early times, however, there has
+been a natural desire to have portraits of the persons about us, and to
+have these portraits in portable form; hence, after a long succession of
+vicissitudes, has come the miniature.
+
+It is perhaps as well, even though the statement has been made over and
+over again, to emphasize the fact that the actual word miniature has
+nothing whatever to do with the size of the portrait. We accept it,
+however, as implying that the portrait is of portable size, and we shall
+apply it to such a portrait as can lie in the palm of one's hand,
+ignoring the fact that the word was originally derived from "minium" or
+red lead, and has come down to us from the little portraits on
+illuminated manuscripts, outlined or bordered with lines of red. In two
+countries especially, the art of painting miniatures has flourished,
+England and France, and in these two countries there have been schools
+of miniature painters, and a succession of great exponents of the art,
+while in the other countries of Europe there have only been now and
+again painters who have devoted especial attention to this branch of
+their art, and have taken high position in it. It is more especially an
+English art, because, although for exquisite grace, charming colouring,
+and dainty conception, the works of the French miniature painters take a
+high rank, even they must yield the palm for representation of character
+to the greatest English painter of miniatures, Samuel Cooper. Moreover,
+in no country but England has there been such a long series of painters
+in miniature, extending from the sixteenth-century down to comparatively
+recent times.
+
+It has been the fashion to commence a survey of English miniature
+painters by reference to Holbein, and it is not altogether an
+unsatisfactory manner in which to start (although Holbein was not an
+Englishman), because so many of his best works were painted in this
+country. It must not, however, be forgotten that portrait painting was
+practised by native English artists in the early part, or at least in
+the middle, of the fifteenth-century, and although we know very little
+indeed about these English painters, yet we have many works remaining
+which must be attributed to them.
+
+It may, moreover, be stated generally that the predecessors and
+contemporaries of Holbein in miniature work were mostly of foreign
+extraction, although working in England; such, for example, as Lavina
+Terlinck and Gwillym Stretes. We know, however, that certain
+fourteenth-century manuscripts were actually executed in England, by an
+English artist, and as an example of such work, Mr. Lionel Cust, in his
+preface to the English Portraiture Exhibition at the Burlington Fine
+Arts Club, points out the Salisbury Lectionarium, with the portrait of
+Lord Lovell as its frontispiece, representing him receiving the book
+from its maker, John Siferwas. He refers also to the even better known
+portrait of Chaucer, painted by Occlive on the manuscript now in the
+British Museum.
+
+There is also no question that the actual art of portrait miniature,
+such as we understand it at the present day, arose from that of painting
+portraits on manuscripts, and, as we have already pointed out in another
+place, it may further be derived from the similar portraits attached to
+treaties and to documents handed over to ambassadors. The illumination
+of a portrait of Francis I. on the ratification of a treaty of peace
+with England, August 18th, 1527, is a case in point. It represents the
+French King in excellent fashion, delineating character as well as
+portraiture, and is the work of a painter of no mean skill and
+discernment. Similar portraits of Henry VIII., and Philip and Mary,
+dated 1543 and 1556, and painted in England, are not of such a high
+character as is the one of Francis, but still are sufficient to enable
+us to regard them as true portraits, representative of the monarchs as
+they were. Who first, says Mr. Cust, cut out the portrait in miniature
+from an illumination, and inserted it in a jewelled or ivory case or
+picture-box, it is impossible to surmise, but such a caprice, once
+started, was likely quickly to become popular. Who first gave up the use
+of vellum for such portraits, and found that a playing card in use at
+that day was a more convenient material on which to paint, we also do
+not know; nor who, again, stretched a very fine piece of vellum or
+chicken-skin upon the playing-card, and used that as his basis, but the
+earliest Elizabethan miniatures painted in England are done in one of
+these two methods.
+
+Prominent amongst the names of the Tudor painters stands out that of
+Hans Holbein the younger, and in the art of composition it is doubtful
+whether any successor has equalled him in consummate skill. The
+illustration which we are allowed to give from Mr. Pierpont Morgan's
+collection, and which represents _Mrs. Pemberton_ (Plate I.), is one of
+the most astonishing works ever produced by a miniature painter. The
+figure is so perfectly composed, and so marvellously set within the
+small compass of the circle, while the modelling is so subtle and
+delicate, so refined, and distinguished by such perfection of line and
+economy of material that it is always a delight to regard it, and no
+portrait painter would be ashamed to say that he had learned many a
+lesson from the unerring skill with which this marvellous portrait is
+produced. It cannot be said that all Holbein's works are on as high a
+level as is this particular picture, but the two portraits in the
+possession of the Queen of Holland, one representing a young lady, and
+the other an older man; the portrait of the painter in the possession of
+the Duke of Buccleuch; the wonderful _Anne of Cleves_ in the collection
+of the late Mr. George Salting; and the companion one of Henry VIII, in
+Mr. Pierpont Morgan's cabinet, are all distinguished by the same
+perfection of draughtsmanship and skill of composition. In Holbein we
+have, therefore, a fitting master, from whom to start the long series of
+miniature painters, which in England extended away down to the beginning
+of the nineteenth century, or even perhaps a little later, and in his
+successor, Nicholas Hilliard, we find the first of the masters who was
+actually an Englishman born and bred.
+
+From whom Hilliard learned his art it is impossible to tell. It would be
+most interesting could we decide if he ever came into contact with
+Holbein, and hardly less so were we able to determine that any other
+master first gave him lessons in this fascinating art. That he began
+painting as quite a boy constitutes almost our first fact respecting
+him, and that is proved by his own portrait at the age of thirteen,
+signed with the young painter's initials in the usual conjoined form,
+and dated 1550. Of his history we know that Hilliard was the son of a
+man who was the High Sheriff of Exeter in 1560, Richard Hilliard by
+name, and that his mother was Laurence, the daughter of John Wall, a
+goldsmith of London. The statement that the father became High Sheriff
+is authorised by the inscription on the case belonging to Lord De L'Isle
+which at one time contained a portrait of the father executed by the
+son, and Walpole gives us the information respecting Hilliard's mother,
+corroborated by the fact that the painter named his son Laurence after
+his own mother. We also know that he married twice, as the portrait of
+his first wife Alicia Brandon at the age of twenty-two is in the Duke of
+Buccleuch's collection, and the inscription upon it, evidently added by
+the painter after his wife's death, tells us that he married again. Who
+his second wife was we do not know, but it seems probable that he
+survived her, because she is not mentioned in his will, and in it he
+constitutes his son Laurence his sole heir and executor. He was always
+spoken of with great respect by his contemporaries, is styled
+"Gentleman" or "Mr.", and his illness in 1610 is carefully referred to
+in the State Papers; while James I., when he gives him the Royal Warrant
+of painting, expressly styles him "our well-beloved Gentleman, Nicholas
+Hylliard." It seems probable that by trade he was originally a
+goldsmith, and his portraits show us that the craft of the goldsmith had
+exercised a great influence over his life. In his delicate miniature
+portraits Hilliard never forgot his original craft, and even went so far
+upon occasion as to introduce what was distinctly jeweller's work into
+the portraits themselves. There is, for example, an actual diamond,
+minute certainly, set in one of his portraits, and the raised work
+representing jewels in other portraits is wrought with such skill and
+delicacy that only a goldsmith could encompass it. We know that he took
+Holbein as his model, for he himself says so, but his work is very
+different from that of the great Swabian. It is ornamental and
+decorative, very delicate, and elaborate, but flat and shadowless, and
+altogether lacking in the marvellous subtle modelling which marks out
+the work of Holbein. It resembles, in fact, more nearly the work of the
+early illuminators. It seems probable that Hilliard was not only a
+skilful miniature painter, but also an actual working goldsmith, and
+responsible for many of the extraordinary frames in which his portraits
+were set. Miss Helen Farquhar has with great skill elaborated a theory
+which tends to prove this, and which appeared in a recent issue of the
+"Numismatic Chronicle." Certain jewels and miniature cases have been in
+the past attributed to the artist, and the result of Miss Farquhar's
+investigation is to make it more clear that such attribution has been
+accurate. Hilliard painted Queen Elizabeth many times, and amongst our
+illustrations will be found a portrait of the Queen (Plate II.) from the
+cabinet of a well-known collector, which sets forth the artist's
+peculiar technique. We also present an interesting example from Mr.
+Pierpont Morgan's collection which has been called a portrait of _Mary
+Queen of Scots_ (Plate III., No. 2). It is dated 1581, and is certainly
+one of the few portraits which seems to stand the test of comparison
+with the well-known drawing and miniature of Mary Stuart attributed to
+Clouet. It is undoubtedly the work of Hilliard, and of remarkable
+excellence, and takes its place amongst the more or less mysterious
+portraits bearing the name of the ill-fated Queen.
+
+Hilliard died in 1619, and appears to have been succeeded in his royal
+appointments and his professional work by his son Laurence, whose
+paintings so closely resemble those of the father that it is not always
+easy to distinguish the work of the two men. Very few of Laurence
+Hilliard's works are signed; there are two belonging to Earl Beauchamp,
+and one in the collection of Mr. Pierpont Morgan. The main feature of
+the son's work consists in the beauty of the calligraphy in the
+inscriptions around the portraits. It is clearer than the more formal
+handwriting of the father, but florid, full of exquisite curves and
+flourishes, and very elaborate, while the colour scheme adopted by the
+son is distinctly richer and more varied than that used by the father,
+and the composition is not quite so rigid and hard as was that of
+Nicholas.
+
+The two Hilliards were, however, succeeded by two far greater men--the
+Olivers. One of them, Isaac, the father, was certainly Nicholas
+Hilliard's pupil, as the fact is mentioned more than once in Haydock's
+preface to his translation of Lomazzo. It seems to be possible that some
+of Isaac Oliver's works were copies of those of his master, and copies
+so accurately executed that it is not quite easy to determine respecting
+them. In the cabinet of Mr. Pierpont Morgan there is, for example, a
+miniature of Arabella Stuart which came from Walpole's collection. It
+has always borne the name of Hilliard, and Walpole himself was careful
+in the attributions he gave to his portraits, but in the Rijks Museum at
+Amsterdam there are two other portraits of the same lady, one of which
+is stated to be signed under the frame with the initials of Isaac
+Oliver, and there are two more, even more closely resembling it, in the
+collection at Sherborne Castle. The Morgan portrait is very
+characteristic of Hilliard, and the two in Amsterdam closely resemble
+it. Our suggestion for a solution of the difficulty is that the two
+Dutch portraits are early copies by Oliver from his master's work.
+Oliver was an extremely expert painter, and a far more clever man than
+Hilliard, for the pencil drawings of the painter and his wife, which
+belong to the Earl of Derby, reveal him as a draughtsman of consummate
+skill. He was probably of Huguenot descent, the son, it is believed, of
+a certain Peter Olivier (or Oliver), a native of Rouen, who was residing
+in London in 1571, and we may take it that his birth was in about 1566;
+his death occurred in 1617, and he was buried in the church of St.
+Anne's, Blackfriars.
+
+Amongst our colour plates are two delightful portraits by him
+representing _Frederick, King of Bohemia, and his Wife_, who was known
+in England as the "Queen of Hearts," signed miniatures from the
+collection of Sir Charles Dilke (Plate IV., Nos. 2 and 3). In the
+monotone illustrations there appear two remarkable works by this painter
+from the collection of Mr. Pierpont Morgan. One represents _Philip II.,
+King of Spain_ (Plate III., No. 1), a fine portrait, set in an elaborate
+locket of rock-crystal and enamel work, upon the reverse of which is a
+representation of the Crucifixion in grisaille. This portrait has an
+interesting history, because it was given by the king to the Duke of
+Osuna, and acquired from the Osuna family, quite recently. It bears a
+motto which may roughly be translated "He who gives himself, gives not a
+little thing," words which are eminently characteristic of the pride of
+the Spanish monarch. The other portrait is of hardly less interest. It
+depicts _Queen Anne of Denmark_ (Plate III., No. 3), who was painted
+over and over again by Isaac Oliver, and who can always be readily
+distinguished by the jewels which she wore on her elaborate high collar
+or ruff. Amongst them invariably appears a representation of a sea-horse
+or a dolphin. This may perhaps have some allusion to her Scandinavian
+ancestry, but, in any case, it was a favourite jewel with the queen, and
+hardly one of her portraits appears without it. Here, again, the case
+containing the miniature is of extraordinary importance, because there
+is good evidence for attributing it to George Heriot, who was goldsmith
+and jeweller to Anne of Denmark, and was the founder of the great
+hospital and school which still bear his name in Edinburgh, while to the
+present generation he is perhaps better remembered as a character in Sir
+Walter Scott's "Fortunes of Nigel," in which delightful work he appears
+as "Jingling Geordie." There are portraits of Oliver himself in
+existence, and a delightful one of his son, while amongst the collection
+of the Queen of Holland there is one that is said to represent his wife.
+The most notable series of the works of this painter is perhaps that
+which is generally known as the Digby series. Walpole tells the story of
+the discovery of these miniatures. He says that they were in a garret in
+an old house in Wales, enclosed in ebony and ivory cases, and locked up
+in a wainscot box, in which they were as well preserved as though only
+just painted. He was greatly excited about them, and was able to secure
+the entire collection, first buying from one owner the greater part of
+the collection, and then securing by a second purchase the remainder
+from the lady who shared them with the other heir. They were all sold at
+his sale at Strawberry Hill, and some of the finest of the portraits
+passed into the collection of the late Baroness Burdett-Coutts, others
+went to Mr. Holford, and many back again to the Digby family, who would
+gladly have purchased the whole, but were unable to afford the prices
+paid by the Baroness Burdett-Coutts, then Miss Angela Coutts. One little
+portrait was bought by Mr. Wentworth Dilke, and now belongs to Sir
+Charles Dilke, it represents one of the sons of Sir Kenelm Digby, and is
+a charmingly graceful little work, by the kind permission of its owner
+illustrated in these pages (Plate IV., No. 1).
+
+The work of Peter Oliver cannot readily be distinguished from that of
+the father, save for the signature, and is as worthy of praise in every
+respect, even if it is not more so. That of the father is a little
+sterner and more forcible than the work of the son, but Peter Oliver is
+not only known by his delightful miniatures, but also by the copies in
+miniature size and style which he prepared for Charles I., and which
+represented some of the great pictures in the King's collection. Several
+of these copies still remain at Windsor Castle, others are scattered in
+various collections, and in some instances they are of peculiar
+importance. For example, there is one in Mr. Pierpont Morgan's
+collection, representing the marriage of St. Catherine, by a Venetian
+painter, probably Titian or Palma Vecchio, which is apparently the only
+record of a vanished painting at one time in the King's collection, but
+later on sold into Spain, and which there perished in a fire at Seville.
+
+A curious story is told by Horace Walpole concerning some miniatures by
+Peter Oliver. He says that Vertue handed down the information that
+Charles II. being very anxious to re-purchase the portraits which had
+been dispersed on the execution of his father, was told that the widow
+of Peter Oliver had taken back some of the miniatures, and had them in
+her possession. The King went to Isleworth to see her, disguising
+himself that he should not be known, and she showed him several works by
+her husband. He was pleased with them and tried to purchase them, but
+the lady stated that she was anxious to submit them to the King, and if
+he did not buy them, a price should be named for their disposal. The
+King then discovered himself to her, and at once she showed him many
+more miniatures which she had not shown to anyone else, and King Charles
+desired to acquire them all. She would not, however, quote a price to
+him, but promised to look over her husband's books, and let His Majesty
+know what prices had been paid to Peter Oliver by Charles I. The King
+took away the miniatures with him, and afterwards sent one of the grooms
+of the bedchamber to Mrs. Oliver, offering her a thousand pounds for
+them, or an annuity of £300 for her life. She chose the latter, but
+after some few years, hearing that a great many of the miniatures had
+passed out of the King's possession, and had been given by him to the
+various ladies at the Court, Mrs. Oliver, who was given to express
+herself in somewhat blunt language, said that if she had thought the
+King would have given the miniatures to his mistresses and illegitimate
+children he should never have had them. Her remark, which was couched in
+very strong language, was carried by someone to the Court. The poor
+woman's annuity was at once stopped, and she never again received it.
+
+Following Isaac and Peter Oliver in chronological survey, and
+necessarily omitting reference to some of the less important painters,
+we come to the name of a man of considerable eminence in his profession,
+John Hoskins. To a certain extent he has been overshadowed by the
+extraordinary merit of his nephew and pupil, Samuel Cooper, but Hoskins
+was a very great painter himself, and his work marks the beginning of
+the broader and more powerful English miniature portraiture, as
+distinguished from the minute work of the men who had been trained under
+the influence of illuminators, and whose miniatures were too full of
+detail to be entirely satisfactory. There is no doubt that, as Walpole
+says, the carnations used in the faces painted by Hoskins are too bricky
+in colour, but the whole effect of the portrait is simple and dignified,
+and there is, for the first time in English miniature portraiture, a
+nobility of treatment and a sober grandeur of effect, extraordinarily
+impressive. The portrait of the _Duke of Buckingham_ (Plate V.) from a
+well-known collection, illustrated in colour, well sets forth the
+dignity of Hoskins' works. It is an exceedingly fine miniature, quiet in
+colouring, and entirely satisfactory in composition. It is signed and
+dated, and, with respect to the signatures on miniatures by Hoskins, a
+few words must be said. It is well also to mark that in the works of
+Hoskins appears for the first time the division of the background, which
+is rather a notable feature in the portraits of Cooper, who evidently
+derived the idea from his uncle. The effect of this division on the
+lighting of the portrait is excellent, the sitter being placed near to
+a window, by which hangs a curtain, and the window commanding a view
+which in many cases was adapted by the artist to some event in the
+history of the sitter. As regards the signatures Hoskins adopted several
+methods of signing his miniatures, combining his two initials in
+different forms of monogram, or separating them with or without the
+addition of the abbreviation "fc." Until quite recently the statement
+made by Vertue that Hoskins had a son, was incapable of proof; although
+the fact that the contemporary inscriptions on some of the miniatures at
+Ham House speak of "Old Hoskins," implies that there must have been a
+younger man of the same name, and it was thought that the variety of
+signatures might help clear up the doubtful question, and that perhaps
+the father adopted a certain method of signing his portraits, and the
+son another form of signature. Fortunately, however, in the collection
+of Mr. Pierpont Morgan, there appears a portrait of the Duke of Berwick,
+signed with conjoined initials, and bearing upon it an inscription,
+stating not only who it represented, but actually when it was painted.
+This miniature proved to contain the missing link of evidence, because
+there was no question about its authenticity, its accurate attribution,
+or its signature, but as it was painted in 1700, while we know that the
+elder Hoskins was buried in 1664, we have in it definite information,
+not only of the existence of the son, but of the fact that he was
+painting miniatures thirty-six years after his father had died. The same
+notable collection contains many works by the elder Hoskins, but only
+this one which can be definitely attributed to his son. The collections
+at Ham House and Montagu House are very rich in works by Hoskins, those
+at the former place being distinguished by delightful contemporary
+inscriptions on the backs of almost every portrait, recording in many
+instances the price paid to the artist for it. Of the works at Montagu
+House, one of the finest represents Charles II. in his youth, and in the
+collection at Ham is perhaps the largest work which Hoskins ever
+painted.
+
+A particularly good example of the work of this master is the portrait
+of _Queen Henrietta Maria_ (Plate VI.) from the Pierpont Morgan
+collection, and this miniature is the more interesting because
+apparently it has never been re-framed, for not only is the metal frame
+the contemporary one, but it possesses its original bevelled glass, the
+oval divided into a series of curved segments, each of which has its
+polished bevelled edge. Waller, in 1625, spoke of the Queen in these
+words:--
+
+  "Such a complexion and such radiant eyes,
+  Such lovely motions and such sharp replies,
+  Beyond our reach, and yet within our sight,
+  What envious power has placed this glorious light?"
+
+We need not, perhaps, accept the praises of the poet, but at least we
+may admire the quiet sweetness of the Queen's face in this charming
+portrait, and recognise the skill and dexterity with which it is
+delineated.
+
+Trained and educated by Hoskins was Samuel Cooper, preeminently the
+greatest miniature painter that England ever produced, and in the
+opinion of many critics the noblest miniature painter of Europe. We know
+comparatively little about Cooper's history, but there are few artists
+concerning whom it would be more desirable to have information.
+Fortunately, Pepys mentions him several times in his wonderful diary;
+especially with reference to the portrait of Mrs. Pepys which her
+husband commissioned. He was evidently a great admirer of the work of
+Cooper, although, as regards this particular portrait, he does not
+appear to have been perfectly satisfied with the likeness. He says he
+was not "satisfied in the greatness of the resemblance, nor in the blue
+garment, but it was most certainly a most rare piece of work as to the
+painting," and he tells us the exact price that Cooper charged him, and
+adds that he sent him the money that night that he might be out of debt.
+Aubrey calls Cooper "the prince of limners of his age." Ray the
+naturalist, in writing to Aubrey, refers to a miniature portrait
+presented to the Ashmolean Museum as "a noble present and a thing of
+great value." Evelyn calls him "the rare limner" and describes the visit
+which he paid to the King's private room, where he found Cooper at work
+painting the royal portrait, and had the honour to hold the candle while
+it was being done, as Cooper, he says, "chose the night and candle-light
+for better finding out the shadows." To all this chorus of praise
+Walpole adds his voice, and tells us that, in his opinion, Cooper's
+works were so fine that they were perfect nature, and that if "a glass
+could expand Cooper's pictures to the size of Vandyck's, they would
+appear to have been painted for that proportion," adding that "if the
+Cooper portrait of Cromwell could be so enlarged, I do not know but
+Vandyck would appear less great by the comparison." Even with this
+criticism, Walpole is careful not to be entirely eulogistic, and he
+points out with unerring discrimination that, although the heads in
+Cooper's portraits were so fine, he yet possessed a lack of skill in
+draughtsmanship where other portions of the body were concerned, and,
+especially as regards the hands, he had a curious want of grace and
+accuracy, His faces, however, are superb, and well deserve all the
+praise that can be given to them. They have been called noble and
+masterly, and the words are befitting. The two portraits representing
+_Charles II._ and _The Earl of Loudoun_, which we present from the
+Pierpont Morgan collection (Plate VII.), and the two in colour,
+depicting _Colonel Lilburne_ and _Lady Fauconberg_, from the collection
+of Mr. Hodgkins (Plate VIII.), will well set forth the dignity and power
+possessed by this great master. His largest miniature is the portrait of
+Charles I. at Goodwood, and there is a somewhat smaller replica by the
+master's own hand in the Rijks Museum at Amsterdam. The Earl of Exeter
+possesses one of his rare half-length portraits, depicting Elizabeth,
+Countess of Devonshire, as a girl, and in the Victoria and Albert Museum
+is a large square portrait of the painter, by himself. With these
+exceptions, the majority of Cooper's works are ovals, varying in size,
+representing the head and shoulders only, and almost all the great
+collections of miniatures possess examples by the painter. As a rule,
+his colours have stood extraordinarily well; in some instances, however,
+they have faded, but it has generally been owing to damp or to
+indifferent treatment on the part of the owners of the portraits. In Mr.
+Pierpont Morgan's collection one miniature representing _Lord Loudoun_
+(Plate VII., No. 2) is in extraordinarily perfect condition, but for a
+couple of generations it was lost sight of behind some oak panelling and
+has only recently come to light. Another very fine one, in the same
+collection, represents _Charles II._ (Plate VII., No. 1). Cooper's
+method of painting is very interesting, and as he has left behind
+several unfinished portraits, we are enabled to study it with
+considerable accuracy. It is clear that he commenced to draw the head
+and figure in brown, and, as a recent writer has pointed out, painted in
+the shadows with transparent sienna, and the half-tones with a pure grey
+blue. His work is executed upon vellum as a rule, but sometimes upon
+cardboard, and his flesh tints are nearly always transparent, although
+occasionally they are upon a white background, and in some few rare
+instances, where he desired special effect, he used opaque colours.
+Several of his portraits he has never carried beyond the early stages.
+They are only sketches, but such sketches as no one else could have
+done, exquisitely rendered, full of palpitating life. This is especially
+the case with the portrait of the Duke of Albemarle at Windsor, and with
+one in the same collection representing the Duke of Monmouth; with that
+of Oliver Cromwell, at Montagu House, and with an extraordinary little
+sketch, which we illustrate in colour, by permission of Sir Charles
+Dilke (Plate IX., No. 1). This also came from Strawberry Hill, where it
+was bought by the grandfather of its present owner, and it offers a
+bewildering problem to the student. Walpole declares, in an inscription
+on the back of it in his own handwriting, that it represents "Miss
+Temple, Maid of Honour to the Duchess of York, second wife of Charles
+Lyttelton," and that it was the work of Gervase Spencer, after an
+original painted by Cooper, in the possession of Lord Lyttelton, and
+Walpole ought to have known what he was talking about. It is quite
+possible that he is correct, but the original portrait from which this
+sketch is said to have been made is not now in the possession of the
+Lyttelton family, and the miniature itself bears such a striking
+resemblance to the work of Cooper that it is difficult to believe that
+it is a copy by anyone at all. We know how constantly Cooper's work was
+copied, one of the finest examples of such repetition being the
+well-known work at Montagu House by Mrs. Ross, a portrait of the Duke of
+Monmouth, but there is no example known to us of an eighteenth-century
+painter copying the work of Cooper with the exception or this one, if
+Walpole's statement is correct. Another curious circumstance about the
+inscription is that Walpole has made an error in the name. It was not
+Charles but Thomas Lyttelton who married Christian Temple. She was the
+daughter of Sir Richard Temple of Stowe, and the heir of Viscount
+Cobham; thus it was through her that the Viscounty and Barony of Cobham
+came to the family.
+
+As we have already written very fully in another place, we are quite
+unable to accept the series of unfinished miniatures at the Victoria and
+Albert Museum as being the work of Cooper. There is no external evidence
+whatever in favour of the tradition. They are painted on a very smooth
+cardboard, quite a different material to that used by Cooper, and on the
+back of one of the portraits is an inscription in the same handwriting
+as is the one on the copy by Mrs. Ross at Montagu House, and apparently
+signed by the same person. It is quite possible that in the collection
+the portrait of Lord Brooke (which was not contained in the pocket-book
+when the original purchase was made) may be a genuine work by Cooper,
+very likely acquired by Mrs. Ross, as a guide for her own work, but all
+the other portraits are, we are convinced, the work of this clever
+copyist, and must not be attributed to the master himself. In the course
+of our investigations concerning a missing portrait by Cooper,
+representing the Countess of Exeter, we came upon two interesting
+letters in the Duke of Rutland's collection at Belvoir Castle, which
+proved that this portrait was never finished. On the 9th April, 1672,
+Mr. Charles Manners wrote to Lord Roos in the following terms:--"I
+haesten on Mr. Cooper all I can to the finishing of my Lady Exester's
+picture, and hee will surely doe it, God willing; but at the present the
+King and the Duke have put severall things into his hands which take him
+off from all else." Then again, on the 4th May, Mr. Manners wrote again
+to Lord Roos respecting the same portrait, and he then stated that
+although Mr. Cooper had promised "with all imaginable respect and
+kindeness to finish it out of hand, and actually begun it, he just then
+fell dangerously sicke, and confyned to his bed, and I very much feare
+hee cannot possibly outlive three days." As a matter of fact, Cooper did
+not live a day after this letter had been sent, for from Mary Beale's
+diary we have the information that he died on the 5th May, the diarist
+writing as follows:--"Sunday, May 5th, 1672, Mr. Samuel Cooper, the most
+famous limner of the world for a face, dyed." The two letters from which
+these quotations are taken are to be found in facsimile in the catalogue
+of Mr. Pierpont Morgan's collection of miniatures. Other odd facts
+concerning this great painter we learn from Pepys and certain
+contemporary records. We know that he was an excellent musician, playing
+well on the lute, and a clever linguist, speaking French with ease. He
+resided in Henrietta Street, Covent Garden, and frequented the Covent
+Garden coffee-house; he was a short, stout man of a ruddy countenance,
+was married and had one daughter. The Duke of Portland's collection at
+Welbeck contains the portrait of his wife Christina, and in another
+collection there is a portrait of his daughter, both fine paintings by
+the master himself. Christina Cooper was a Miss Turner, and her other
+sister, Edith, married the father of Alexander Pope. Mrs. Cooper was
+Pope's godmother and taught him his letters, and to her godson she
+bequeathed a "painted china dish with a silver pot and a dish to set it
+in," as well as the reversion of her books, pictures and medals, with
+Samuel Cooper's "grinding stone and muller," and some of his portrait
+sketches.
+
+It is not quite certain that Cooper was born in England; we know the
+date of his birth, 1609, but we have no certain evidence that he was an
+Englishman by birth, although there is every probability that this was
+the case. He was, however, for a while in France, and he was certainly
+in Holland, and possibly in Sweden also, where his brother, Alexander
+Cooper, also spent some time. It was in Sweden that we were able to
+discover a good deal of information respecting Alexander Cooper, and
+notably a statement concerning his account for certain royal portraits
+in his own handwriting. Samuel Cooper's appearance is known to us by the
+portraits in the Victoria and Albert Museum, but an even more
+interesting sketch of him is in the Pierpont Morgan collection, painted
+in sepia, on a piece of paper which has been twice folded. An
+inscription, which we believe to be in his own handwriting, is at the
+back of a portrait at Welbeck Abbey, and is to the effect that the
+picture in question, and one or two previous ones, were done for a Mr.
+Graham, but had not been paid for at the time the artist was writing.
+
+There is hardly a miniature by this eminent man which is not worth
+careful consideration, and in the power of delineating character and
+setting before us the actual feelings of his sitters, Cooper had no
+rival, while one of the great features of his work is its amazing
+variety. Moreover, the manner in which he adapted his technique, his
+colour scheme, and his ideas of composition to the special circumstances
+of the person whom he had to delineate, is very remarkable. His
+portraits of men are perhaps more attractive than those of women,
+although he was well able to convey the fascination of a woman's face;
+but the strong, rugged men of his period were portrayed by him with
+quite extraordinary power, and he created a method of portraiture
+entirely his own, and filled it with individual characteristics. Two
+splendid examples are amongst our illustrations in colour (Plate VIII.),
+_Lady Fauconberg_ and _Colonel Lilburne_, both from the collection of
+Mr. Hodgkins.
+
+Of his contemporaries it will suffice to mention one or two, and perhaps
+the best of them was David des Granges, whose work is represented in our
+illustrations in colour by a portrait of _Rachel Fane, Countess of
+Bath_, from the collection of Mr. Hodgkins (Plate IX., No. 2). Of this
+artist and his parentage we know a little, thanks to the researches of
+Mr. Lionel Cust in the registers of the Huguenot Church in London. It
+seems probable that Des Granges, although baptised in the Huguenot
+faith, did not continue in that communion, because in 1649 he is
+mentioned in some papers belonging to the French Dominicans as a
+Catholic, and he was a very close friend of the celebrated artist Inigo
+Jones, who was also a Catholic. The portrait of the architect by David
+des Granges, representing Inigo Jones at the age of 68, is at Welbeck
+Abbey, signed with the initials D.D.G., and is one of the best works by
+him with which we are acquainted.
+
+For the works of Faithorne or Loggan, Flatman or Lens, we must refer our
+readers to more elaborate books on miniature painting, and hasten
+forward towards the eighteenth century. Before we do so, however, it may
+be of interest that we should refer to an illustration in colour of a
+miniature which has not hitherto been represented in any book on this
+subject. It is a portrait which has been bequeathed through various
+owners as a likeness of _John Milton_ (Plate X.), and there is a good
+deal of evidence to support this very interesting attribution. It came
+from the Woodcock family, who state that it has been handed down in
+direct succession from Catherine Woodcock, whom Milton married as his
+second wife on the 12th of November 1656. She was the daughter of a
+Captain Woodcock, of Hackney, and the former owners of the miniature
+stated that their family home was in Hackney. Mrs. Milton had a baby
+girl on October 19th, 1657, and she and her child died in February 1658,
+when the miniature was given to her niece, who is stated to have been
+present at the confinement, and from her it came to its late owners, who
+only parted with it when actually compelled so to do. It therefore
+belonged to the Mrs. Milton who is immortalised by the poet in his
+twenty-third sonnet, where he speaks of her as
+
+  "My late espousèd saint,
+  Brought to me like Alcestis from the grave,"
+
+And adds
+
+  "... once more I trust to have
+  Full sight of her in Heaven without restraint."
+
+He says she
+
+  "Came vested all in white, pure as her mind
+  Her face was veiled; yet to my fancied sight
+  Love, sweetness, goodness, in her person shined
+  So clear, as in no face with more delight.
+  But, oh! as to embrace me she inclined,
+  I waked, she fled, and day brought back my night."
+
+If, as seems most probable, the attribution of this portrait is correct,
+it gives us a view of Milton at a period of his life of which we have no
+other portrait, for it must have been painted when he Was about 48, and
+it bears out Aubrey's remarks about him, in which he speaks of his
+reddish hair, of his "exceeding fayre complexion," of his oval face, and
+tells us that he was "a spare man." Apparently it was never engraved,
+and Deborah Milton seems to have known nothing about it, but as she was
+quite a child when her father's second wife died, and as the portrait
+passed away from the Milton family so quickly, it is very natural that
+we should have no other record of it than the miniature itself.
+
+We now come to the eighteenth century, and without referring in detail
+to the men who preceded the foundation of the Royal Academy, would just
+mention one of the prominent miniature painters of the early days of the
+century, Christian Richter by name. He was the son of a Swedish
+silversmith who came to England in the time of Queen Anne, and settled
+down with his brother, who was a medallist and a die-sinker. His work is
+luminous and distinguished, marked by rather an excessive brilliance of
+red in the carnations, but by a very handsome colour scheme as a rule;
+the example we give in our colour plates, the portrait of _Prince
+George of Denmark_, the consort of Queen Anne (Plate XI.) from the
+Hodgkins collection, setting forth his characteristics in a satisfactory
+fashion.
+
+The catalogues of the Royal Academy are full of the names of miniature
+painters. The period of its foundation was prolific in the number of
+limners it produced. Miniature painting was the fashion. There were
+half-a-dozen important painters, and two or three hundred lesser men.
+The greater men stand out distinctly. Of the lesser men, many are only
+names to us. Here and there we have scraps of information respecting
+their history, details concerning the place where they resided, a few
+dates, and now and again an inscription on the back of a miniature to
+guide us; but of the vast majority of those who exhibited at the early
+exhibitions we know little, and of many of them it is not necessary that
+we should know very much, as their work was neither especially
+remarkable, nor especially praiseworthy. In considering this period,
+however, one comment must be made. As a rule, each painter was
+individual and characteristic. He allowed the personal equation to take
+an important part in his work, and when the expert is once familiar with
+the characteristics of the painter, his miniatures can be found quite
+readily whether signed or not. It is this special personal quality which
+distinguishes the painters of the period from the host of miniature
+painters of the present day who have striven to revivify the art, but
+who in many cases have become mere copyists, and have not allowed
+personal characteristics to distinguish their work. With the names of
+the great painters many are familiar, Cosway, Plimer, Smart, Ozias
+Humphry, Engleheart, Edridge, and Grimaldi are all well known, and the
+collector is more or less familiar with the names of a few of the minor
+painters whose works are worth collecting, as, for example, Nathaniel
+and Horace Hone, Vaslet, and others. There is neither opportunity nor
+need, in an essay of this sort, to refer to them in detail, because we
+are not concerned here with anything more than a broad survey of the
+miniature art, and must not confine our attention to England only. The
+painters of the eighteenth-century offer a sharp contrast to those of
+the seventeenth, and comparison only makes the contrast the more
+evident. In the work of Cooper we have strength, power, dignity; in that
+of Cosway and of the artists of his period is refinement, dexterity,
+fascination, a spice of flippancy and at times a certain meretricious
+quality, but this latter is far less seen in Cosway himself than in the
+work of his followers and admirers. The public demanded something quite
+different from the artists of the eighteenth century from that which
+they asked of the earlier school; the work had to be done more quickly,
+and it must be more charming, sensitive, and radiant. In his skill for
+giving his sitters exactly what they wanted, and in setting forth on the
+ivory the dainty grace of the women of the eighteenth century, there was
+no one who could approach within measurable distance of Cosway himself;
+and there is a marvellous fascination about his exquisite work, an
+individuality which belongs exactly to the period and represents it in
+all its grace, lightness and flippancy.
+
+Undoubtedly the nearest in merit to Cosway was Andrew Plimer, and some
+of his works are fascinating in their beauty, but in charm they are
+never equal to those of Cosway, and the peculiar mannerisms of the
+artist prevent them from being altogether satisfactory. Plimer had very
+little power of composition, and he invariably over-accentuated the eyes
+of his sitters, and constantly repeated a favourite pose either of head
+or figure, while the extraordinary wiry manner in which he delineated
+the hair marks out his work at once. Quite as noticeable is his
+affection for the appearance of his own daughters, and the very shape of
+their necks and brilliance of their eyes can be seen repeated over and
+over again in his portraits of other sitters. Less than most of his
+contemporaries was he able to break away from a strong personal
+characteristic; and eventually it became a species of obsession with
+him, so that his female portraits strikingly resemble one another.
+
+John Smart was a painter of a different type, serious, solid,
+painstaking. His facial modelling is extraordinary in its accuracy, and
+his works, like those of Engleheart, appear to have been preferred by
+the more serious persons in society, whereas those of Cosway and Plimer
+were particularly appreciated by the gay and frivolous ladies of the
+Court circle, whose sun and centre was the Prince Regent.
+
+There are miniatures by Cosway which are of pre-eminent beauty, so
+lightly and with such exquisite skill are they floated upon the ivory.
+The quality of the material had, of course, an intimate connection with
+the art of the painter. The seventeenth-century artists knew nothing of
+the brilliant surface of ivory, although it is possible that one at
+least of them had an inkling that a more luminous material than vellum,
+cardboard, or chicken-skin, could be found. There are two miniatures in
+existence, one of which is in the possession of the author of these
+pages, the work of Cooper, which are not painted on any of the materials
+usually adopted by him. This latter is painted on what was at first
+thought to be a piece of ivory, but microscopic investigation has
+revealed the fact that it is polished mutton-bone, and the painter has
+so altered his technique to adapt it to this curious experiment, that
+for the first moment one would hardly believe the miniature to be by
+Cooper at all. Its pedigree is, however, unassailable, and a closer
+investigation reveals many of the master's characteristics, but it is
+painted with a very fine brush, quite different to the usual broad, full
+sweep of his work, and it stands out as an interesting experiment on the
+part of the great painter, who was searching for some material more
+suitable for a particular style of work. Ivory was not employed until
+the time of William III., and it seems probable that one of the Lens
+family was the first to make use of it; but, once adopted, its use
+became very general, and in the prolific period of the eighteenth
+century, almost universal.
+
+Cosway is said to have experimented in enamel, and certainly one enamel
+portrait, with his initials, is in existence. He drew very skilfully on
+paper, and a few of his miniatures are on that material. One of his
+works, signed and dated, is on silk, but all these were only
+experiments, and the greater number of his miniatures are on ivory,
+which material lends itself perfectly to his craft. In our opinion the
+finest miniature Cosway ever produced was his unfinished sketch of
+_Madame du Barry_, one of the greatest treasures of Mr. Pierpont
+Morgan's collection, and by his kind permission illustrated here in
+monotone (Plate XII.). It was painted in 1791 on the occasion when
+Madame du Barry came over to England to recover her jewels, and on her
+third visit to this country in that year. From this portrait a stipple
+engraving was made by Condé in 1794, but the miniature itself came into
+the possession of the Vernons, having belonged to a Miss Caroline Vernon
+who was maid of honour to Queen Charlotte. It was sold in London in
+1902, when it passed to its present owner, and in grace, sweetness, and
+fascination, is unrivalled, even amongst his wonderful treasures.
+
+Another delightful portrait from the same collection represents the
+oft-painted _Henrietta, Lady Duncannon_, who was afterwards Countess of
+Bessborough (Plate XIV., No. 2). She was sister to Georgiana, Duchess of
+Devonshire, and seems to have spent a great deal of her time in sitting
+for her portrait, all the artists of the day having painted her. This
+miniature is remarkable for the fact that it still remains in its
+original frame, a very magnificent one, richly set with superb diamonds.
+
+Yet another charming portrait by Cosway (Plate XIV., No. 1) came from
+the Truro collection to Mr. Morgan. It represents _Lady Augusta Murray_,
+the daughter of Lord Dunmore, who became the wife of the Duke of Sussex,
+the 6th son of George III. It was her marriage which, although twice
+performed, in Rome and at St. George's, Hanover Square, was declared
+null and void under the Royal Marriage Act (12 Geo. III. cap. 11). Her
+daughter was Lady Truro. Lady Augusta was only painted twice, and on
+both occasions by Cosway.
+
+Our coloured illustrations include three portraits of women by Cosway,
+_Viscountess St. Asaph_ (Plate XIII.), the _Countess of Rochford_ (Plate
+XV.) and _Princess Charlotte_ (Plate XVI.), all of them distinguished by
+Cosway's special method of painting the hair, and marked by that
+inimitable grace in which he excelled.
+
+We also illustrate from Lord Hothfield's collection one of Cosway's more
+serious portraits of men, _The Earl of Thanet_ (Plate XVII.), set upon
+the usual blue cloudy background, in this instance a trifle paler than
+usual, and painted with convincing force in a very remarkable colour
+scheme.
+
+Of the work of the more sedate painters, Smart and Engleheart, we are
+able to give many characteristic examples. From Lord Hothfield's
+collection come a splendid pair--_Mr. and Mrs. Percival_ (Plate XIX.),
+painted with that striking force which marks the best work of Smart,
+upon his usual greenish-grey background, and with very subtle but
+well-marked modelling in the features. His carnations were ever a little
+brick-dusty in tint, and he delighted in the ruddier tones of the face,
+but in depicting the shadows he had few rivals. Although there may be
+perhaps a certain want of inspiration in his somewhat quaker-like method
+of work, and in the very low tone of his colouring, yet there is an
+honesty and a straightforward quality about it which is very attractive,
+and perhaps that was the reason why Cosway in the words of praise he
+gave to a painter so different from himself, spoke of him as "honest
+John Smart."
+
+Engleheart's work has a certain resemblance to that of Reynolds, and the
+devotion which Engleheart felt towards the President of the Academy had
+an evidently strong effect upon his own art. He copied Sir Joshua's
+works over and over again, and gradually a good deal of the influence of
+the great master permeated the work of his follower. His miniatures were
+nobler, broader, and far better set upon the oval of the ivory than were
+those of many of his contemporaries, his draughtsmanship was excellent,
+and there was a brilliance about his painting of the eyes which is
+particularly attractive. The large portrait of _Earl Beauchamp_ (Plate
+XX.), from the collection of Lady Maria Ponsonby, is a fine specimen of
+his best work; but those of _Mrs. Sainthill_ and _Mr. Brundish_, from
+the collection of Lord Hothfield (Plate XXII.), are good examples of his
+smaller miniatures, possessing a great deal of charm and delightful in
+colour. His portrait of _Miss Mary Berry_, from Mr. Pierpont Morgan's
+collection (Plate XXI.), is quite one of his finest portraits of women.
+He painted both these sisters, and for a long time the two portraits
+were in one case, facing one another, but they have now been separated,
+and lie side by side in the cabinet. The two ladies were well known as
+being the close friends of Horace Walpole, who treated them with the
+greatest tenderness and affection, addressed to them many of his most
+brilliant letters, and persuaded them to settle down near him at
+Strawberry Hill. To them he dedicated his catalogue of treasures, and
+bequeathed a considerable sum of money, and his works and letters were,
+after his death, edited by Mary Berry, one of the sisters, who lived
+down till 1852, and died at the advanced age of ninety. From the same
+collection we have selected two delightful works by Smart, those
+representing _Sir Charles Oakeley_ and a lady whose name is unknown
+(Plate XVIII.), both distinguished by the elaboration of flesh tints, so
+quietly and so accurately applied.
+
+The very brilliant, if somewhat flashy, work of Andrew Plimer is
+particularly well represented in Mr. Pierpont Morgan's famous
+collection, because it includes the notable series representing Rebecca,
+Lady Northwick, and her three daughters, all of which are given in our
+monotone illustrations (Plates XXIII. and XXIV.). Plimer was an adept at
+flattery, and in this particular case the mother looks hardly older than
+her daughters, and the three girls are so much alike that one has to
+look exceedingly closely to notice the position of the band round the
+head, or of the curl which falls upon the neck, before one girl can be
+distinguished from another. The same unfortunate mannerism belonging to
+this clever painter can be seen in _The Three Sisters Ellis_, brilliant
+works by Andrew Plimer from the collection of Lord Hothfield, and here
+illustrated in colour (Plate XXV.). When closely regarded it is quite
+evident that the three girls are very different from one another, but at
+the first glance we almost wonder how their parents could have known
+them apart. The painter himself has been led to make little changes in
+their costume in order that each girl's identity should be preserved,
+and our remark respecting the exaggeration of the eyes is exemplified in
+these three very beautiful portraits. By the same painter is the
+charming representation of _Selina Plimer_, the artist's youngest child,
+from the collection of the writer of this essay (Plate XXVI.). This
+miniature came from Plimer's own portfolio, and bears his handwriting
+upon it. It is very graceful and light in its treatment. The Rushout
+girls form the subject of the largest painting ever executed by Plimer.
+His well-known group showing these three girls in one miniature now
+belongs to Mr. George J. Gould, and is fully described in the life of
+Andrew Plimer.
+
+In Lord Hothfield's collection, however, is an interesting sketch (Plate
+XXVII.), a group of the three sisters, evidently his first idea, quite
+different both in composition and in execution to the finished picture.
+It came from Plimer's studio, is unmistakably his work, and
+particularly interesting as a fresh and original idea, even more
+charming in many ways than the finished picture. In the latter, the
+girls dress their hair quite differently to what they had it in the
+sketch, and very possibly the _esquisse_ was made on their first visit
+to the studio, as they stood together that the artist might get an idea
+of how they looked. Another example of Plimer's work illustrated here in
+colour is from the same collection, and represents _Mrs. Bailey_ (Plate
+XXVIII.). It is a pleasing picture, though the curious wiriness of hair
+to which we have drawn attention is very noticeable in it. One of the
+prettiest pictures that Plimer ever painted of a child is the one which
+we illustrate in reduced size from the collection of Lady Maria Ponsonby
+(Plate XXIX., No. 1). It represents _Sir Charles Kent as a Boy_, playing
+upon a drum, and is a bright, piquant little picture.
+
+Nathaniel Plimer's work is rarer than that of his brother, and we know
+very little indeed of the history of the artist. He was a curiously
+unequal painter. There were times when he could paint far better than
+his brother, but there are not perhaps more than two or three of his
+miniatures to which this high praise can be given. His general work is
+pleasing and agreeable, but does not betoken extraordinary skill. One of
+the best of his ordinary miniatures is in Lord Hothfield's collection
+(Plate XXIX., No. 2), and represents _Mrs. Dawes_. It is dated 1798, and
+is quite a fine picture, but not equal in high merit to two works by
+this master in the late Mr. Salting's collection, the finest examples of
+Nathaniel's work we have yet seen.
+
+Ozias Humphry was a greater man than Plimer, but his work in miniature
+is rare. His draughtsmanship was exceedingly good, his colouring quiet
+and restrained, and his technique so elaborate, with such fine stipple
+work, that it has a general resemblance to that of enamel, but differs
+from this latter because it is not hard in its execution; and there is,
+moreover, an atmospheric quality about it very attractive. One of
+Humphry's peculiarities is to be noticed in the elongated shape he gave
+to the eyes of his sitters, what has been well termed "a greyhound eye,"
+affording a marked contrast to the exceedingly round, over-bold eye,
+which Plimer was so fond of accentuating. Humphry drew children
+exquisitely, and his portrait of the _Duchess of Albany_ as a child
+(Plate XXX., No. 1), in the possession of Lord Hothfield, is one of the
+most delightful miniatures with which we are acquainted. In it his
+accuracy of draughtsmanship is seen to perfection, and the modelling on
+the face is so dainty and delicate that the miniature is quite a little
+gem full of life and vivacity, while the child is represented with a
+demure, amused look, which is refreshing and natural. There is a very
+interesting history connected with this miniature. It was painted in
+Rome in 1773, when Humphry was there with Romney, and it eventually
+belonged to Horace Walpole, and was in his collection at Strawberry
+Hill. He is said to have received it from Sir Horace Mann, his great
+friend and correspondent, who was watching Prince Charles Edward (_de
+jure_ Charles III.), on behalf of the English Government. The other
+Humphry, which we illustrate from the same collection, represents the
+_Countess of Thanet_ (Plate XXX., No. 2), and is an excellent example of
+the manner in which Ozias painted a noble lady of a quiet, studious
+character. The colour scheme in this, again, is very pleasing.
+
+Time would fail to describe the host of minor men who exhibited at the
+Academy, and it would be impossible to illustrate works by even the
+chief of them. We have selected just a few; first, an example of the
+work of John Smart the younger, who is especially well known for his
+fine pencil work, and for some wonderful copies from drawings by
+Holbein. There are very few of his miniatures in existence; and the one
+of _Lieutenant Lygon_ (Plate XXXI.), in the collection of Lady Maria
+Ponsonby which is signed and dated, is a good, natural, life-like
+portrait, well drawn and composed. Then we would refer to Nathaniel
+Hone, who was an interesting person, and deserves to be remembered
+because he was the first artist in the eighteenth century to have what
+we now call a "one-man show." There is not a great deal of credit
+belonging to him for this adventure, because, had he not been a very
+sensitive and passionate man, and painted a picture which annoyed the
+Academy, the one-man show would never have come off.
+
+In a painting called "The Conjuror" Hone was considered to have made an
+attack upon the President and upon Angelica Kauffman. It was rejected by
+the Academy, and in 1775 Hone opened his exhibition at 70, St. Martin's
+Lane, issued a catalogue, to which he affixed a preface, telling the
+story of his discomfiture from his own point of view, and appealing to
+the people respecting the merits of his paintings. The result was not
+particularly satisfactory, because it was felt that he had been in the
+wrong. The catalogue is a very rare one, and the whole story is rather
+interesting in its details.
+
+A fine portrait by Horace Hone, the elder son of Nathaniel, representing
+William Pitt is in the collection of Lady Maria Ponsonby, and appears in
+our coloured illustrations (Plate XXXII., No. 2). Horace Hone was a
+better painter than his father. He excelled in enamel work, and his
+finest portraits are in that medium. He had a fine sense of colour and
+loved rich effects of velvet brocade, satin, or fur. Another of his
+miniatures is in Lord Hothfield's collection, and represents _Lady Mary
+Nugent_; it is signed and dated, and the owner has kindly permitted us
+to illustrate it in these pages (Plate XXXII., No. 1).
+
+Yet another miniature from Lord Hothfield's collection illustrates the
+work of Vaslet (Plate XXXIII.), of whom we know hardly anything, save
+that he lived in York and Bath and that he was a clever worker in
+pastel. He seems to have visited Oxford in 1779, 1780, and 1789, and
+there is a good collection of his pastel portraits on paper in the
+Warden's Lodge at Merton College, the portraits carefully signed and
+dated; on the majority of them the artist calls himself as L. Vaslet of
+Bath. There are other collectors in Oxford who have specimens of his
+work in pastel, but in miniature his paintings are very rare. They are
+distinguished by a cloudy, flocculent appearance, very much resembling
+pastel work, and making it evident that the artist was more at home in
+the use of that material than he was in water-colour.
+
+Our very brief survey of English miniature work must end with Sir George
+Hayter, by whom we illustrate a portrait of the _Countess of Jersey_,
+from the collection of Lady Maria Ponsonby (Plate XXXIV.). He was
+portrait painter to Princess Charlotte and Prince Leopold of
+Saxe-Coburg, but is better known for his historical paintings than for
+portraits, and he is almost the last of the nineteenth-century miniature
+painters whose work possesses any special attraction. After his time and
+that of his contemporaries Sir William Ross, J. D. Engleheart,
+Robertson, Newton, and Thorburn, the art of miniature painting died away
+until its revival in recent times.
+
+The painters who worked in enamel occupy a section of miniature work
+apart, although in many instances the best known enamellers painted
+portraits also on ivory or on vellum, but they are especially known for
+their works in enamel. There is little need for us here to do more than
+define enamel work as a vitreous glaze attached by fusion to a metallic
+ground, but only those who have attempted to paint portraits in enamel
+can have any idea of the enormous difficulty of this method of
+portraiture when fine results are desired. Of all the men who were
+successful in this most complicated process, Jean Petitot stands out
+supreme, and his portraits, as a rule excessively minute in size, are
+distinguished by a delicacy of detail, marvellous in its microscopic
+exactitude. When it is remembered that the colours were painted on to
+the panel of gold in the form of a powder, only slightly mingled with a
+medium, that they did not represent by their tint the colour they were
+to present when fused, and that the slightest error in the fusing would
+ruin the plate and cause the colours to run into one another, the
+marvel is but enhanced when the exquisite works produced by this
+incomparable artist are examined. The specimen from Mr. Ward Usher's
+collection (Plate XXXV.), which is illustrated in colour, is a good
+example of Petitot's portrait of _Louis XIV._ He painted the face of
+"_Le Roi Soleil_" so often that he must have become familiar with every
+detail of it, and there is hardly any collection of his works which
+cannot boast of one of these wonderful little enamels. The story of the
+painter himself is of considerable interest, and the details of his
+religious difficulties and of his return to Geneva are well set forth in
+a book about him written by E. Stroehlin, and published in Geneva in
+1905; while some further special information more recently discovered
+can be found in an article by the writer of this essay in the
+"Nineteenth Century" for January 1908. He left behind him a wonderful
+little pocket-book containing his own and his wife's portraits, and a
+narrative of part of his career, written by him in beautiful
+handwriting. His own portrait belongs to the Earl of Dartrey, and there
+are some wonderful examples of his work in the Louvre; but the best of
+his portraits are in England, and there is no collection to rival that
+of South Kensington in this respect. Perhaps his most extraordinary work
+is the box belonging to Mr. Alfred de Rothschild, which has fourteen
+portraits upon it; but his largest, with one exception, is that of
+_Mary, Duchess of Richmond and Lenox_, which we illustrate from Mr.
+Pierpont Morgan's collection (Plate XXXVI., No. 2). It is signed and
+dated 1643 and is 5-1/2 inches square, the only miniature exceeding it
+in size being that at Chatsworth, representing the Countess of
+Southampton, and dated 1642. The latter is, however, unfortunately
+damaged, whereas the one in Mr. Pierpont Morgan's collection is quite
+perfect. With these two exceptions, almost all Petitot's miniatures are
+exceedingly tiny in size. The only other enameller whose work we
+illustrate was named Prieur, and he married, as her second husband,
+Marie, the only sister of Jean Petitot. Prieur was a wanderer; we find
+his work in Poland, Denmark, Russia, Spain, and especially in Denmark,
+where there are many of his portraits, and where he is believed to have
+died in 1677. He visited England charged with commissions from the King
+of Denmark, and, while there, painted a portrait of Charles II. and
+another of Lady Castlemaine, both from Cooper's miniatures. He was also
+responsible for a portrait of _Charles I._ (Plate XXXVI., No. 1), but
+whether contemporary or not we cannot say, for so little is known of
+Prieur's history, that he may have visited England before 1669, when we
+know he came over to paint Charles II. In all probability, however, this
+delightful work, which now belongs to Mr. Pierpont Morgan, is a copy by
+Prieur from the portrait of the King by Vandyck. Prieur executed
+several delightful enamel badges for the Danish Orders, and appears to
+have been in high repute at the courts both of Frederik III. and
+Christian V.
+
+We have now to deal briefly with the long range of foreign miniature
+painters, the chief of whom were resident in France, although not always
+natives of that country. There was a regular tradition of miniature
+painting in France, extending from the times of the Clouets down to
+those of the great painters Isabey and Augustin. The works by Jean
+Clouet were, of course, more of the nature of paintings in manuscripts,
+and if we are accurate in attributing one of the great gems of Mr.
+Morgan's collection to Jean Clouet himself, it adds one to the only
+other seven portraits which have been, with any amount of accuracy,
+given to this painter. All of the seven are illustrations in one
+manuscript volume, and probably this eighth was either executed for the
+same purpose, or has actually been removed from a contemporary work of
+that kind. When we come to the later Clouets, François especially, we
+have actual miniatures, and in several instances the drawings for the
+portraits exist, also enabling us to identify whom the miniatures
+represent. It would be impossible within the limits of this short essay
+to deal with all those who succeeded the sixteenth-century men, and we
+have to make a big jump to the eighteenth century, because it was during
+that time that the most notable of the French miniature painters
+flourished, and their works are by far the most important.
+
+Nattier began as a miniature painter, and his mother painted miniatures,
+and is said to have taught him his art. Later on, he became a well-known
+portrait painter, but speculating in the wild schemes of John Law, lost
+his fortune, and a good many of his friends. Once he took up with
+miniature painting to re-introduce himself to the clients he had lost
+when he neglected art for the excitement of finance, then dropped it
+again, and confined his attention down to the time of his death to
+portrait painting. We illustrate a delightful portrait of _Madame Dupin_
+(Plate XXXVII., No. 1), the wife of a writer on finance, whose book was
+suppressed by the order of Madame de Pompadour; but we remember the fair
+lady who is set forth in this portrait more by reason of the fact that
+Rousseau was at one time her secretary, and was very much attached to
+her. The portrait shows her in the hey-day of beauty.
+
+By Hall, the Swede, who lived in Paris, and is generally regarded as a
+Frenchman, we illustrate a portrait of the _Countess Sophie Potoçki_
+(Plate XXXVII., No. 2), the celebrated Greek beauty, who became a member
+of one of the noblest families of the Polish aristocracy. Her story is a
+strange one. She was born of Greek parents at Constantinople, purchased
+as a slave by the Russian general De Witte, who made her his mistress;
+but one night, losing a considerable sum of money at cards, when playing
+against Count Felix Potoçki, he received an offer from his opponent to
+waive all claims if the Russian general would pass over his slave to
+Count Felix. The offer was accepted, and Sophie Clavona became the
+property of the Polish Count, who was already deeply in love with her.
+Despite the expostulations of his friends, he promptly made her his
+second wife, and they lived happily together for many years, while her
+heritage of beauty has been handed down through succeeding generations.
+Her portrait was painted over and over again, and the example of it
+which we illustrate remained for a long time in the private gallery of
+the family at Warsaw, together with a replica which is still there. It
+was finally sold to a French dealer, from whom it passed into the hands
+of its present owner. The famous beauty is in a deep red costume, which
+wonderfully sets off the charm of her countenance. Another work by Hall
+from the same famous collection (Plate XXXVII., No. 3), represents the
+ill-fated _Princesse de Lamballe_, "beauty, goodness and virtue
+personified, but all her goodness and gentleness could not soften the
+hearts of those inhuman tigers who immolated her on the altar of
+Equality." Few scenes are more pitiable than that of the execution of
+this beautiful woman. She had never committed any action which could
+have incurred the hatred of the people, but she was the friend of the
+Queen, and the possessor of considerable wealth; reasons enough to bring
+upon her head the wrath of the tyrants who preached freedom to France.
+This miniature is particularly charming in its domestic quality. Madame
+de Lamballe is shown in her room, engaged in making a wreath of flowers,
+and every detail concerning her occupation, and the room in which she is
+seated, is delightfully rendered; but the whole composition is kept so
+well in hand that the details do not obtrude, nor in any way draw aside
+the attention from the fair countenance of the lady herself.
+
+The work of Pierre Pasquier is very rare, and not a single example of it
+is to be seen in the Louvre. He was born in 1731, and died in 1806. He
+worked largely in enamel, and a great many of his portraits appear on
+the wonderful snuff-boxes which were given to ministers or eminent
+diplomatists. Several of them are in Russia. He was distinguished by an
+unerring perfection of draughtsmanship, and this is especially set forth
+in his profile portraits, one of which, signed and dated, we illustrate
+from Mr. Morgan's collection (Plate XXXVIII., No. 2). It is probably the
+finest example of Pasquier's work in existence, and is little more than
+a sketch in black on ivory, with a steel-blue background, the ivory
+being left clear where the portrait appears. We do not know who it
+represents, but it was probably a study for an enamel left incomplete.
+It is dated 1786, and in its rigid economy of line, exquisite low-toned
+scheme of colour, and perfection of drawing, occupies an exceedingly
+high place in miniature painting, and leaves us only regretful that we
+are ignorant of the name of the sitter.
+
+The example we illustrate of the miniature work of Fragonard must also
+be anonymous (Plate XXXVIII., No. 1). It is a boy's portrait, and has
+been said, with a certain amount of evidence, to represent one of his
+own sons, it certainly does resemble a sketch of one of Fragonard's
+children, which the artist has named, but not sufficiently for us to be
+sure respecting the accuracy of the attribution. No one, however, but
+Fragonard could have painted it, the colour is so daintily placed upon
+the ivory as to give the effect of having been wafted upon the material,
+and resting upon it with a feathery lightness. There is generally a good
+deal of yellow in Fragonard's portraits, or else the colour scheme is
+mainly grey and white, and this portrait belongs to the second division
+we have mentioned. It is very pleasing, the face of a quiet, thoughtful
+child, charmingly represented, and a good example of the work of one of
+the greatest decorators France ever knew. Fragonard's miniatures are
+rare, we may add, very rare, and probably no one has such a collection
+of them as is to be found in the cabinets of Mr. Pierpont Morgan.
+
+By Garriot, a painter who was born in 1811 at Toulouse, studied at
+Madrid, and painted in Geneva, we illustrate from Mr. Pierpont Morgan's
+collection a portrait of the _Marquise de Villette_ (Plate XXXIX., No.
+2), better known as "Belle et Bonne," who was practically adopted as a
+daughter by Voltaire, and married to the Marquis de Villette at
+midnight, in November 1777, in the great man's chapel of Ferney, her six
+uncles being present on the occasion. Ferney had belonged to her and her
+six uncles, and Voltaire was the means of reclaiming it from the
+possession of certain of his neighbours into whose hands it had
+illegally passed in 1761. It was in the arms of "Belle et Bonne" that
+Voltaire passed away on the 30th of May 1778, when he was eighty-four
+years old.
+
+A very interesting miniature from the same collection is the one
+representing a granddaughter of Nattier the artist, painted by Louis
+Sicardi (Plate XXXIX., No. 1), one of the best miniaturists of the time
+of Louis XVI. Sicardi painted for over fifty years, produced a great
+many delightful works, and was responsible for the decoration and
+portraits that, set upon gold snuff-boxes, were such favourite presents
+at the French Court.
+
+The two greatest, however, of the painters of the French school were
+Isabey and Augustin, and Isabey, who was born in 1767, forms a curious
+link between the eighteenth and the twentieth centuries. He painted
+Marie Antoinette, Buonaparte, the King of Rome, and the Empress Marie
+Louise; he also worked for Louis XVIII., received high distinctions from
+Charles X. and from Louis Philippe, and was appointed Commander of the
+Legion of Honour by Napoleon III.: moreover, he had a long conversation
+with the Empress Eugénie (who is still living) in 1854, the year in
+which he died at the advanced age of eighty-eight. He exhibited between
+1793 and 1841, painting portraits of all the eminent persons in France
+during his long career. Of his earlier work we exhibit in colour two
+charming companion miniatures from the collection of Mr. Ward Usher,
+representing the _Empress Josephine_, and the _Empress Marie Louise_
+(Plate XL.), while of his later, somewhat more florid work, almost
+invariably distinguished by the presence of a light gauzy scarf which he
+wound about his sitter, and which he painted to perfection, we give two
+portraits, one a portrait of _Catherine, Countess Beauchamp_, from the
+collection of Lady Maria Ponsonby (Plate XLI.), and the other depicting
+_Fürstin Katharina Bagration Shawronska_ (Plate XLII.), from the
+collection of Fürst Franz Auersperg.
+
+One of the loveliest miniatures Isabey ever painted is that representing
+_Queen Hortense and her son Napoleon III._, in the collection of Mr. J.
+Pierpont Morgan. It contains autograph information in the Emperor's
+handwriting attesting to its history, and is a lovely example of
+Isabey's easy, graceful, pleasing work. It is illustrated on Plate
+XLIII.
+
+An interesting feature of some of Isabey's miniatures is the fact that
+he worked in conjunction with two Dutch artists, the brothers Van
+Spaendonck. They were expert painters of flowers and fruit, often
+employed at the Sévres porcelain factories, one of them being as well a
+professor of natural history and lecturer on flowers in Paris, and the
+author of one or two books on flowers and flower-painting. There are
+several examples of the work of Isabey in which one or other of these
+brothers has supplied the floral decoration, or a group of fruit in the
+background.
+
+We now come to Jean Baptiste Jacques Augustin, one of the noblest of the
+miniature painters of France. He was born in 1759, upon the same day,
+although separated from him by an interval of ten years, as that on
+which the great Napoleon, whose portrait Augustin was afterwards to
+paint, came into the world. He came over to Paris as quite a boy, and
+lived in a house in that city to which he returned many years
+afterwards, bringing with him a bride, and where, as a married man, he
+resided for a considerable time. For a while he found life a hard
+struggle, but his rare merit soon brought him many clients, and from
+about 1790 onward until the close of his life, he seems to have had a
+succession of sitters, including all the notabilities of the day. He
+left behind him a wonderful collection of sketches, contained in various
+books, and a large number of unfinished miniatures. Some few years ago
+the members of the family, in whose possession this great collection had
+remained, desirous of portioning off two of their daughters, offered the
+collection for sale. The Directors of the Louvre very much desired to
+purchase it, as it included many works of great importance, but the
+whole collection passed into the hands of Mr. Pierpont Morgan, and fills
+one entire cabinet, giving a view of this artist's work altogether
+unrivalled. The illustrations which we give are of Augustin's later work
+rather than those of the early years, although with them is included a
+brilliant unfinished sketch, representing _The Father of Madame Seguin_
+(Plate XLIV., No. 2). The one from Mr. Ward Usher's collection
+represented in colour is a portrait of _Madame Récamier_ (Plate XLV.),
+that from Mr. Morgan's collection in monotone, the famous _Madame de
+Boufflers_ (Plate XLIV., No. 1), the friend of David Hume, who
+introduced the historian to J. J. Rousseau, and is so frequently alluded
+to in Horace Walpole's letters. When she fled from France, Madame de
+Boufflers resided for some time in or near London, and Walpole spoke of
+her as the most agreeable and sensible woman he ever saw, but he was
+greatly amused at her want of appreciation of his house. She had never
+seen a printing press until she came to Strawberry Hill, and Walpole
+arranged that on the occasion of her visit his private press should
+print a few lines of French poetry in her praise. In one of his gossipy
+letters we are told that Madame de Boufflers informed Lord Onslow of the
+birth of Lord Salisbury two hours after his mother had come from the
+Opera House, and that from Lord Onslow Walpole himself heard the news.
+
+Of E. W. Thompson, an Englishman, who spent very much of his time in
+France, and is regarded by the French critics almost as one of
+themselves, we know very little, but the _Princess de Lieven_, whose
+portrait he painted (Plate XLIII.), was one of the great ladies of
+Europe in the nineteenth century. She was a personal friend of Count
+Metternich and afterwards of Guizot, and Madame de Lieven kept up a
+steady correspondence with both these statesmen, and exercised, without
+doubt, a very considerable influence upon European politics.
+
+Two artists of Italian parentage deserve mention, especially as we are
+able to illustrate, by the permission of their owner, Mr. Ward Usher,
+delightfully signed examples of their work. By Costa we show an
+interesting portrait of _Marie Antoinette_ (Plate XLVI.) which came from
+the Bentinck-Hawkins collection; and by Anguissola, the favourite
+miniature painter to the court of the great Napoleon, we illustrate, in
+reduced size, a fine portrait of the Emperor's sister, _Princess Pauline
+Borghese_ (Plate XLVII.).
+
+Special attention has been given in our illustrations to the work of the
+great Viennese miniature painter Füger, because very little is known of
+his work in England, and there are so few examples of it to be found in
+English collections. The Viennese collectors seem determined that all
+the finest works by Füger shall remain in their own city, and they are
+prepared to give high prices in order that they may carry out this
+desire. One of the chief collectors in Vienna is Dr. Figdor, and he has
+been exceedingly kind in allowing many miniatures from his collection to
+be illustrated for the purpose of this essay, amongst them, five by
+Füger, perhaps a rather large proportion; but it has been felt that, as
+the work of the painter is so little known in England, it was well in
+our illustrations to err on the right side, and give several examples of
+his delightful workmanship. For a long time the details of his life were
+buried in obscurity, and all sorts of mistakes were made respecting his
+work, which was confused with that of other painters, and in some
+instances not recognised at all. It was not until 1905, when Herr Doktor
+Ferdinand Laban published a very important article upon him, that
+Füger's true position was apparent, and Dr. Laban was able from family
+records to set right the errors of those writers, amongst whom we must
+include ourselves, who had gone astray from lack of the very material
+Dr. Laban was able to discover. Since then, Herr Eduard Leisching has
+added considerably to our information in a splendid book he published on
+Austrian miniature painters, and he has discovered many more examples of
+Füger's work, who can now be justly recognised as the greatest of the
+Continental eighteenth-century miniaturists. He has been called the
+Viennese Cosway, but the work of Füger has very little affinity with
+that of our English painter. It is far stronger and more severe, and his
+more graceful portraits are richer in their colour scheme, and far more
+elaborate in their decorative effect than anything ever painted by
+Cosway. There are two wonderful miniatures by Füger in Mr. Pierpont
+Morgan's collection, one representing three sisters, the Countesses
+Thun-Hohenstein, and the other Madame Rousbaeck, a lady-in-waiting to
+the Empress Marie Theresa, but Dr. Figdor's illustrations set forth in
+excellent manner both the strength and the charm of this wonderful
+painter. Nothing can be more forcible than the sketch of _Prince
+Hohenlohe_ (Plate XLVIII.), and we realise the power and dignity of the
+sitter when we regard this marvellous delineation of character. For
+dainty grace it is difficult to excel the portrait of the anonymous lady
+(Plate XLIX.), for strength and gracious dignity that of the _Empress
+Maria_ (Plate L.), while the portrait of _Marie Theresia, Countess von
+Dietrichstein_ (Plate LI.) is that of a noble dignified lady of high
+position, splendid courage, and great charm, and that of _Princess Anna
+Liechtenstein_ (Plate LII.) shows us a thoughtful, learned, and musical
+lady, a portrait very decorative in colour scheme, and charmingly set
+upon its oval of ivory.
+
+Another painter whose work was exceedingly popular in Vienna, was
+Giovanni Battista de Lampi, an Italian born near Trent in 1751, a man
+very little known outside the narrow limits of the Viennese collectors.
+He was a wanderer for a few years, painting in Verona, and moving on
+until he reached St. Petersburg, but when in 1783 he came to Vienna, he
+was received with open arms, was welcomed by the court and the nobility
+to such an extent that practically for the rest of his life he resided
+either in Vienna, or in various towns of Poland from which he could
+easily reach the capital itself. It was in Vienna that he died at the
+age of eighty, universally respected and greatly beloved. His wife's
+portrait is in the gallery at Innsbrück, one of three replicas. The
+original Lampi retained for himself. His two sons each had replicas, and
+the remaining one went to his granddaughter, the Baroness Hell, who left
+it to the museum. One of the replicas which came into the possession of
+his sons is now a great treasure in Mr. Pierpont Morgan's collection.
+The portrait from that of Dr. Figdor, which we illustrate in colour,
+represents Lampi himself (Plate LIII.), and is not only a fine example
+of the artist's work, serious, and almost solemn in its aspect, but also
+peculiarly interesting as showing us what the painter himself was like.
+
+Another Viennese miniature painter whose work we illustrate is Moritz
+Michael Daffinger, who has been called the Austrian Isabey, but these
+comparisons, like that applied to Füger, are of little significance.
+What is of special interest with regard to Daffinger is the fact that he
+adopted the manner of Sir Thomas Lawrence as his own. Lawrence visited
+Vienna in 1814, and was received with great honour. While there he
+painted some portraits. Daffinger admired his work immensely, and
+undoubtedly some of his best miniatures are reminiscent of Lawrence.
+Especially is this the case with a beautiful girl's portrait
+from the collection of another Viennese collector, Gräfin Emma
+Wilczek-Emo-Capodilista; and for permission to illustrate this
+delightful miniature (Plate LIV.) we are particularly grateful, as it is
+a charming specimen of the best work of the nineteenth century, a
+pleasing portrait, and very agreeable in its colour scheme.
+
+Daffinger had many pupils, and one of them, Emanuel Peter, exceeded all
+the rest in skill. We illustrate two clever portraits by him (Plate
+LV.), from Dr. Figdor's collection, in which the ladies are wearing very
+decorative head-dresses. It is suggested that the two fair sitters were
+relatives, probably cousins, and were painted for some exceptional
+occasion, perhaps a masquerade, as the custom to wear fantastic
+head-dresses for such special entertainments still prevails in Vienna.
+
+Finally we must mention Ferdinand Georg Waldmüller, whose own portrait
+by himself appears on Plate LVI. He was one of Lampi's pupils, but, like
+Daffinger, a profound admirer of Sir Thomas Lawrence. His early days
+were one continual struggle, and he earned his living by painting
+bon-bon boxes, and by giving lessons in drawing in girls' schools, until
+his skill was recognised and he had won a position for himself in
+Vienna. He even went on the stage in a travelling troupe with his
+beautiful wife, who was an actress, but forced the attention of critics
+by his splendid portrait studies, and at length was appointed curator of
+the Lamberg Gallery, became a popular portrait painter, and died in 1865
+justly esteemed for his skill and ability.
+
+Our survey of this fascinating art of the miniature painter has
+necessarily been brief. There is still a good deal of information to be
+gathered up concerning the eighteenth-century artists, and probably some
+of their descendants possess papers and records of vast interest, hidden
+away amongst family treasures. Perchance this essay may encourage some
+of them to make the necessary search, and so add to the information
+available on the lives and careers, especially of our English miniature
+painters.
+
+Of the earlier men there is not much chance of obtaining new information
+now, but there is always a possibility that letters or sketches by such
+a painter as Cooper may again come to light, and if such so fortunate a
+circumstance were to take place we should delight to learn more of the
+greatest of our British miniature painters, whose portraits were for so
+many years ignored in favour of the more brilliant, but far less
+important, works of the painters who exhibited in the early days of the
+Royal Academy.
+
+GEORGE C. WILLIAMSON.
+
+
+
+
+  PLATE I
+  [Illustration: MRS. PEMBERTON BY HANS HOLBEIN
+  FROM THE COLLECTION OF MR. J. PIERPONT MORGAN]
+
+
+  PLATE II
+  [Illustration: QUEEN ELIZABETH BY NICHOLAS HILLIARD
+  FROM THE CABINET OF A WELL-KNOWN COLLECTOR]
+
+
+  PLATE III
+  [Illustration: PHILIP II., KING OF SPAIN BY ISAAC OLIVER
+  MARY, QUEEN OF SCOTS BY NICHOLAS HILLIARD
+  QUEEN ANNE OF DENMARK BY ISAAC OLIVER
+  ALL FROM THE COLLECTION OF MR. J. PIERPONT MORGAN]
+
+
+  PLATE IV
+  [Illustration: A SON OF SIR KENELM DIGBY BY ISAAC OLIVER (1632)
+  FREDERICK, KING OF BOHEMIA BY ISAAC OLIVER
+  THE QUEEN OF BOHEMIA BY ISAAC OLIVER
+  ALL FROM THE COLLECTION OF THE RT. HON. SIR CHARLES DILKE, BART., M.P.]
+
+
+  PLATE V
+  [Illustration: THE DUKE OF BUCKINGHAM BY JOHN HOSKINS, THE ELDER
+  FROM THE CABINET OF A WELL-KNOWN COLLECTOR]
+
+
+  PLATE VI
+  [Illustration: QUEEN HENRIETTA MARIA
+  BY JOHN HOSKINS, THE ELDER
+  FROM THE COLLECTION OF MR. J. PIERPONT MORGAN]
+
+
+  PLATE VII
+  [Illustration: CHARLES II BY SAMUEL COOPER
+  JOHN, EARL OF LOUDOUN (1598-1662) BY SAMUEL COOPER
+  BOTH FROM THE COLLECTION OF MR. J. PIERPONT MORGAN]
+
+
+  PLATE VIII
+  [Illustration: COLONEL LILBURNE (1618-1657) BY SAMUEL COOPER
+  VISCOUNTESS FAUCONBERG, DAUGHTER OF OLIVER CROMWELL BY SAMUEL COOPER
+  BOTH FROM THE COLLECTION OF MR. E. M. HODGKINS]
+
+
+  PLATE IX
+  [Illustration: MISS CHRISTIAN TEMPLE BY OR AFTER SAMUEL COOPER
+  FROM THE COLLECTION OF THE RT. HON. SIR CHARLES DILKE, BART., M.P.
+  RACHEL FANE, COUNTESS OF BATH AND LATER OF MIDDLESEX (1612-1680)
+  BY DAVID DES GRANGES
+  FROM THE COLLECTION OF MR. E. M. HODGKINS]
+
+
+  PLATE X
+  [Illustration: JOHN MILTON ARTIST UNKNOWN
+  FROM THE COLLECTION OF DR. G. C. WILLIAMSON]
+
+
+  PLATE XI
+  [Illustration: GEORGE, PRINCE OF DENMARK BY CHRISTIAN RICHTER
+  FROM THE COLLECTION OF MR. E. M. HODGKINS]
+
+
+  PLATE XII
+  [Illustration: MADAME DU BARRY (1746-1793) BY RICHARD COSWAY, R.A.
+  FROM THE COLLECTION OF MR. J. PIERPONT MORGAN]
+
+
+  PLATE XIII
+  [Illustration: VISCOUNTESS ST. ASAPH (_NÉE_ LADY CHARLOTTE PERCY) SECOND
+  WIFE OF GEORGE, VISCOUNT ST. ASAPH, AFTERWARDS THIRD EARL OF ASHBURNHAM
+  BY RICHARD COSWAY, R.A.
+  FROM THE COLLECTION OF LORD HOTHFIELD]
+
+
+  PLATE XIV
+  [Illustration: LADY AUGUSTA MURRAY WIFE OF THE DUKE OF SUSSEX
+  BY RICHARD COSWAY, R.A.
+  HENRIETTA, LADY DUNCANNON AFTERWARDS COUNTESS OF BESSBOROUGH (Os. 1821)
+  BY RICHARD COSWAY, R.A.
+  BOTH FROM THE COLLECTION OF MR. J. PIERPONT MORGAN]
+
+
+  PLATE XV
+  [Illustration: LUCY, WIFE OF WILLIAM H. NASSAU, FOURTH EARL OF ROCHFORD
+  BY RICHARD COSWAY, R.A.
+  FROM THE COLLECTION OF LORD HOTHFIELD]
+
+
+  PLATE XVI
+  [Illustration: H.R.H. PRINCESS CHARLOTTE OF WALES (1796-1817)
+  BY RICHARD COSWAY, R.A.
+  FROM THE COLLECTION OF LORD HOTHFIELD]
+
+
+  PLATE XVII
+  [Illustration: HENRY TUFTON, ELEVENTH AND LAST EARL OF THANET
+  (1775-1849) BY RICHARD COSWAY, R.A.
+  FROM THE COLLECTION OF LORD HOTHFIELD]
+
+
+  PLATE XVIII
+  [Illustration: SIR CHARLES OAKELEY (1751-1826) BY JOHN SMART
+  PORTRAIT OF A LADY (NAME UNKNOWN) BY JOHN SMART
+  BOTH FROM THE COLLECTION OF MR. J. PIERPONT MORGAN]
+
+
+  PLATE XIX
+  [Illustration: THE HON. EDWARD PERCIVAL, SECOND SON OF JOHN, SECOND EARL
+  OF EGMONT (1744-1824) BY JOHN SMART (1801)
+  THE HON. MRS. EDWARD PERCIVAL BY JOHN SMART
+  BOTH FROM THE COLLECTION OF LORD HOTHFIELD]
+
+
+  PLATE XX
+  [Illustration: EARL BEAUCHAMP BY GEORGE ENGLEHEART (1805)
+  FROM THE COLLECTION OF LADY MARIA PONSONBY]
+
+
+  PLATE XXI
+  [Illustration: MISS MARY BERRY BY GEORGE ENGLEHEART
+  FROM THE COLLECTION OF MR. J. PIERPONT MORGAN]
+
+
+  PLATE XXII
+  [Illustration: MRS. SAINTHILL BY GEORGE ENGLEHEART
+  JOHN JELLIARD BRUNDISH, M.A. SMITH PRIZEMAN AND SENIOR WRANGLER IN 1773
+  BY GEORGE ENGLEHEART
+  BOTH FROM THE COLLECTION OF LORD HOTHFIELD]
+
+
+  PLATE XXIII
+  [Illustration: REBECCA, LADY NORTHWICK (Ob. 1818) BY ANDREW PLIMER
+  FROM THE COLLECTION OF MR. J. PIERPONT MORGAN]
+
+
+  PLATE XXIV
+  [Illustration: THE HON. HARRIET RUSHOUT (Ob. 1851) BY ANDREW PLIMER
+  THE HON. ANNE RUSHOUT (Ob. 1849) BY ANDREW PLIMER
+  THE HON. ELIZABETH RUSHOUT (Ob. 1862) BY ANDREW PLIMER
+  ALL FROM THE COLLECTION OF MR. J. PIERPONT MORGAN]
+
+
+  PLATE XXV
+  [Illustration: ELIZABETH, MARGARET CAROLINE AND ANTOINETTE, DAUGHTERS OF
+  JOHN ELLIS, ESQ. OF HURLINGHAM, MIDDLESEX AND JAMAICA BY ANDREW PLIMER
+  ALL FROM THE COLLECTION OF LORD HOTHFIELD]
+
+
+  PLATE XXVI
+  [Illustration: SELINA PLIMER BY ANDREW PLIMER
+  FROM THE COLLECTION OF DR. G. C. WILLIAMSON]
+
+
+  PLATE XXVII
+  [Illustration: THE SISTERS RUSHOUT BY ANDREW PLIMER
+  FROM THE COLLECTION OF LORD HOTHFIELD]
+
+
+  PLATE XXVIII
+  [Illustration: MRS. BAILEY, WIFE OF LIEUTENANT BAILEY, WHO WAS PRESENT
+  AT THE STORMING OF SERINGAPATAM IN 1799 BY ANDREW PLIMER
+  FROM THE COLLECTION OF LORD HOTHFIELD]
+
+
+  PLATE XXIX
+  [Illustration: SIR CHARLES KENT, BART., AS A CHILD
+  BY ANDREW PLIMER (1786)
+  FROM THE COLLECTION OF LADY MARIA PONSONBY
+  MRS. DAWES BY NATHANIEL PLIMER (1798)
+  FROM THE COLLECTION OF LORD HOTHFIELD]
+
+
+  PLATE XXX
+  [Illustration: CHARLOTTE, DUCHESS OF ALBANY, DAUGHTER OF CHARLES EDWARD
+  STUART BY CLEMENTINA, TENTH DAUGHTER OF JOHN WALKENSHAW (1753-1789)
+  BY OZIAS HUMPHRY
+  MARY, WIFE OF THE EIGHTH EARL OF THANET (Ob. 1778) BY OZIAS HUMPHRY
+  BOTH FROM THE COLLECTION OF LORD HOTHFIELD]
+
+
+  PLATE XXXI
+  [Illustration: LIEUTENANT LYGON BY JOHN SMART, JUN. (1803)
+  FROM THE COLLECTION OF LADY MARIA PONSONBY]
+
+
+  PLATE XXXII
+  [Illustration: LADY MARY ELIZABETH NUGENT, AFTERWARDS MARCHIONESS OF
+  BUCKINGHAM, AND IN HER OWN RIGHT, BARONESS NUGENT (Ob. 1812)
+  BY HORACE HONE
+  FROM THE COLLECTION OF LORD HOTHFIELD]
+
+
+  [Illustration: THE RT. HON. WILLIAM PITT BY HORACE HONE
+  FROM THE COLLECTION OF LADY MARIA PONSONBY]
+
+
+  PLATE XXXIII
+  [Illustration: MISS VINCENT BY VASLET OF BATH
+  FROM THE COLLECTION OF LORD HOTHFIELD]
+
+
+  PLATE XXXIV
+  [Illustration: THE COUNTESS OF JERSEY BY SIR GEORGE HAYTER (1819)
+  FROM THE COLLECTION OF LADY MARIA PONSONBY]
+
+
+  PLATE XXXV
+  [Illustration: LOUIS XIV BY JEAN PETITOT, THE ELDER
+  FROM THE COLLECTION OF MR. J. WARD USHER]
+
+
+  PLATE XXXVI
+  [Illustration: CHARLES I. BY P. PRIEUR
+  MARY, DUCHESS OF RICHMOND AND LENOX (1623-1685)
+  BY JEAN PETITOT THE ELDER (1643)
+  BOTH FROM THE COLLECTION OF MR. J. PIERPONT MORGAN]
+
+
+  PLATE XXXVII
+  [Illustration: MADAME DUPIN (Ob. 1799) BY JEAN MARC NATTIER
+  THE COUNTESS SOPHIE POTOCKI (Ob. 1822) BY P. A. HALL
+  LA PRINCESSE DE LAMBALLE (Ob. 1792) BY P. A. HALL
+  ALL FROM THE COLLECTION OF MR. J. PIERPONT MORGAN]
+
+
+  PLATE XXXVIII
+  [Illustration: PORTRAIT OF A BOY (NAME UNKNOWN) BY JEAN HONORÉ FRAGONARD
+  PORTRAIT OF A LADY (NAME UNKNOWN) BY PIERRE PASQUIER (1786)
+  BOTH FROM THE COLLECTION OF MR. J. PIERPONT MORGAN]
+
+
+  PLATE XXXIX
+  [Illustration: A GRAND-DAUGHTER OF NATTIER, THE ARTIST BY LOUIS SICARDI
+  LA MARQUISE DE VILLETTE ("BELLE ET BONNE") BY GARRIOT
+  BOTH FROM THE COLLECTION OF MR. J. PIERPONT MORGAN]
+
+
+  PLATE XL
+  [Illustration: THE EMPRESS JOSEPHINE BY JEAN BAPTISTE ISABEY
+  THE EMPRESS MARIE LOUISE BY JEAN BAPTISTE ISABEY
+  BOTH FROM THE COLLECTION OF MR. J. WARD USHER]
+
+
+  PLATE XLI
+  [Illustration: CATHARINE, COUNTESS BEAUCHAMP BY JEAN BAPTISTE ISABEY
+  FROM THE COLLECTION OF LADY MARIA PONSONBY]
+
+
+  PLATE XLII
+  [Illustration: FÜRSTIN KATHARINA BAGRATION SKAWRONSKA
+  BY JEAN BAPTISTE ISABEY (1812)
+  FROM THE COLLECTION OF FÜRST FRANZ AUERSPERG]
+
+
+  PLATE XLIII
+  [Illustration: LA PRINCESSE DE LIEVEN (_NÉE_ DOROTHY BENCKENDORFF)
+  (1784-1857) BY E. W. THOMPSON
+  QUEEN HORTENSE AND HER SON, AFTERWARDS NAPOLEON III (1808-1873)
+  BY JEAN BAPTISTE ISABEY
+  BOTH FROM THE COLLECTION OF MR. J. PIERPONT MORGAN]
+
+
+  PLATE XLIV
+  [Illustration: MADAME DE BOUFFLERS (1725-1800) BY J. B. JACQUES AUGUSTIN
+  THE FATHER OF MADAME SEGUIN BY J. B. JACQUES AUGUSTIN
+  BOTH FROM THE COLLECTION OF MR. J PIERPONT MORGAN]
+
+
+  PLATE XLV
+  [Illustration: MADAME RÉCAMIER BY J. B. JACQUES AUGUSTIN
+  FROM THE COLLECTION OF MR. J. WARD USHER]
+
+
+  PLATE XLVI
+  [Illustration: MARIE ANTOINETTE BY M. V. COSTA
+  FROM THE COLLECTION OF MR. J. WARD USHER]
+
+
+  PLATE XLVII
+  [Illustration: PRINCESS PAULINE BORGHESE BY B. ANGUISSOLA
+  FROM THE COLLECTION OF MR. J. WARD USHER]
+
+
+  PLATE XLVIII
+  [Illustration: PRINCE FRANZ W. HOHENLOHE BY HEINRICH FRIEDRICH FÜGER
+  FROM THE FIGDOR COLLECTION]
+
+
+  PLATE XLIX
+  [Illustration: PORTRAIT OF A LADY--NAME UNKNOWN
+  BY HEINRICH FRIEDRICH FÜGER (CIRCA 1790)
+  FROM THE FIGDOR COLLECTION]
+
+
+  PLATE L
+  [Illustration: EMPRESS MARIA THERESIA, SECOND WIFE OF THE EMPEROR
+  FRANCIS I OF AUSTRIA BY HEINRICH FRIEDRICH FÜGER
+  FROM THE FIGDOR COLLECTION]
+
+
+  PLATE LI
+  [Illustration: MARIE THERESIA, COUNTESS VON DIETRICHSTEIN
+  BY HEINRICH FRIEDRICH FÜGER
+  FROM THE FIGDOR COLLECTION]
+
+
+  PLATE LII
+  [Illustration: FÜRSTIN ANNA LIECHTENSTEIN-KHEVENHÜLLER
+  BY HEINRICH FRIEDRICH FÜGER (CIRCA 1795)
+  FROM THE FIGDOR COLLECTION]
+
+
+  PLATE LIII
+  [Illustration: PORTRAIT OF THE ARTIST BY GIOVANNI BATTISTA DE LAMPI
+  FROM THE FIGDOR COLLECTION]
+
+
+  PLATE LIV
+  [Illustration: GRÄFIN SOPHIE NARISKINE
+  BY MORITZ MICHAEL DAFFINGER (CIRCA 1835)
+  FROM THE COLLECTION OF GRÄFIN EMMA WILCZEK-EMO-CAPODILISTA]
+
+
+  PLATE LV
+  [Illustration: PORTRAIT OF A LADY--NAME UNKNOWN BY EMANUEL PETER
+  GRÄFIN SIDONIE POTOCKA--DE LIGNE BY EMANUEL PETER
+  FROM THE FIGDOR COLLECTION]
+
+
+  PLATE LVI
+  [Illustration: PORTRAIT OF THE ARTIST (1793-1885)
+  BY FERDINAND GEORG WALDMÜLLER
+  FROM THE FIGDOR COLLECTION]
+
+
+
+
+  +---------------------------------------------------------------+
+  | Transcriber's Note:                                           |
+  |                                                               |
+  |    Obvious punctuation and spelling errors repaired.          |
+  +---------------------------------------------------------------+
+
+
+
+
+
+End of Project Gutenberg's Portrait Miniatures, by George C. Williamson
+
+*** END OF THE PROJECT GUTENBERG EBOOK 40532 ***