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diff --git a/40532-h/40532-h.htm b/40532-h/40532-h.htm index 390060d..0e6d968 100644 --- a/40532-h/40532-h.htm +++ b/40532-h/40532-h.htm @@ -2,7 +2,7 @@ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> - <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of Portrait Miniatures, by George C. Williamson. @@ -100,47 +100,7 @@ </style> </head> <body> - - -<pre> - -The Project Gutenberg EBook of Portrait Miniatures, by George C. Williamson - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Portrait Miniatures - -Author: George C. Williamson - -Editor: Charles Holme - -Release Date: August 19, 2012 [EBook #40532] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK PORTRAIT MINIATURES *** - - - - -Produced by Chris Curnow, Christian Boissonnas and the -Online Distributed Proofreading Team at http://www.pgdp.net -(This file was produced from images generously made -available by The Internet Archive) - - - - - - -</pre> - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 40532 ***</div> <div class="figcenter c1"><a name="cover.jpg" id="cover.jpg"></a><img src="images/i_cover.jpg" alt="cover picture" width="495" height="700" title="" /></div> <p> </p> @@ -174,9 +134,9 @@ LONDON, PARIS, NEW YORK</p> <p> </p> <p>The Author and Editor desire to express their grateful thanks to -Fürst Franz Auersperg, Sir Charles Dilke, Bart., Dr. Figdor, Mr. +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, +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.</p> @@ -272,7 +232,7 @@ illustrated in these pages.</p> <td class="tdr"><a href="#Plate_XIII" style= "text-decoration: none;">XIII.</a></td> <td class="c1"><a href="#i_066.jpg" style= - "text-decoration: none;">"Viscountess St. Asaph (<i>née</i> Lady Charlotte Percy), + "text-decoration: none;">"Viscountess St. Asaph (<i>née</i> Lady Charlotte Percy), second wife of George, Viscount St. Asaph, afterwards third Earl of Ashburnham." By Richard Cosway, R.A.</a></td> </tr> @@ -444,14 +404,14 @@ illustrated in these pages.</p> <td class="tdr"><a href="#Plate_XLII" style= "text-decoration: none;">XLII.</a></td> <td class="c1"><a href="#i_124.jpg" style= - "text-decoration: none;">"Fürstin Katharina Bagration Skawronska." + "text-decoration: none;">"Fürstin Katharina Bagration Skawronska." By Jean Baptiste Isabey (1812).</a></td> </tr> <tr> <td class="tdr"><a href="#Plate_XLV" style= "text-decoration: none;">XLV.</a></td> <td class="c1"><a href="#i_130.jpg" style= - "text-decoration: none;">"Madame Récamier." By J. B. Jacques Augustin.</a></td> + "text-decoration: none;">"Madame Récamier." By J. B. Jacques Augustin.</a></td> </tr> <tr> <td class="tdr"><a href="#Plate_XLVI" style= @@ -469,7 +429,7 @@ illustrated in these pages.</p> <td class="tdr"><a href="#Plate_XLVIII" style= "text-decoration: none;">XLVIII.</a></td> <td class="c1"><a href="#i_136.jpg" style= - "text-decoration: none;">"Prince Franz W. Hohenlohe." By Heinrich Friedrich Füger.</a></td> + "text-decoration: none;">"Prince Franz W. Hohenlohe." By Heinrich Friedrich Füger.</a></td> </tr> <tr> <td class="tdr"><span class="pagenum"><a name="Page_vii" id="Page_vii">[Pg vii]</a></span> @@ -477,28 +437,28 @@ illustrated in these pages.</p> "text-decoration: none;">XLIX.</a></td> <td class="c1"><a href="#i_138.jpg" style= "text-decoration: none;">"Portrait of a Lady—name unknown." By Heinrich - Friedrich Füger (circa 1790).</a></td> + Friedrich Füger (circa 1790).</a></td> </tr> <tr> <td class="tdr"><a href="#Plate_L" style= "text-decoration: none;">L.</a></td> <td class="c1"><a href="#i_140.jpg" style= "text-decoration: none;">"Empress Maria Theresia, second wife of the - Emperor Francis I. of Austria." By Heinrich Friedrich Füger.</a></td> + Emperor Francis I. of Austria." By Heinrich Friedrich Füger.</a></td> </tr> <tr> <td class="tdr"><a href="#Plate_LI" style= "text-decoration: none;">LI.</a></td> <td class="c1"><a href="#i_142.jpg" style= "text-decoration: none;">"Marie Theresia, Countess von Dietrichstein." - By Heinrich Friedrich Füger.</a></td> + By Heinrich Friedrich Füger.</a></td> </tr> <tr> <td class="tdr"><a href="#Plate_LII" style= "text-decoration: none;">LII.</a></td> <td class="c1"><a href="#i_144.jpg" style= - "text-decoration: none;">"Fürstin Anna Liechtenstein-Khevenhuller." By - Heinrich Friedrich Füger (circa 1795).</a></td> + "text-decoration: none;">"Fürstin Anna Liechtenstein-Khevenhuller." By + Heinrich Friedrich Füger (circa 1795).</a></td> </tr> <tr> <td class="tdr"><a href="#Plate_LIII" style= @@ -510,7 +470,7 @@ illustrated in these pages.</p> <td class="tdr"><a href="#Plate_LIV" style= "text-decoration: none;">LIV.</a></td> <td class="c1"><a href="#i_148.jpg" style= - "text-decoration: none;">"Gräfin Sophie Nariskine." By Moritz Michael + "text-decoration: none;">"Gräfin Sophie Nariskine." By Moritz Michael Daffinger (circa 1835).</a></td> </tr> <tr> @@ -523,13 +483,13 @@ illustrated in these pages.</p> <td class="center"><a href="#Plate_LV" style= "text-decoration: none;">"</a></td> <td class="c1"><a href="#i_150b.jpg" style= - "text-decoration: none;">"Gräfin Sidonie Potoçka-de Ligne." By Emanuel Peter (circa 1820).</a></td> + "text-decoration: none;">"Gräfin Sidonie Potoçka-de Ligne." By Emanuel Peter (circa 1820).</a></td> </tr> <tr> <td class="tdr"><a href="#Plate_LVI" style= "text-decoration: none;">LVI.</a></td> <td class="c1"><a href="#i_152.jpg" style= - "text-decoration: none;">"Portrait of the Artist" (1793-1865). By Ferdinand Georg Waldmüller.</a></td> + "text-decoration: none;">"Portrait of the Artist" (1793-1865). By Ferdinand Georg Waldmüller.</a></td> </tr> </table> @@ -669,7 +629,7 @@ illustrated in these pages.</p> <td class="center"><a href="#Plate_XXXVII" style= "text-decoration: none;">"</a></td> <td class="c1"><a href="#i_114b.jpg" style= - "text-decoration: none;">"The Countess Sophie Potoçki" (ob. 1822). By P. A. Hall.</a></td> + "text-decoration: none;">"The Countess Sophie Potoçki" (ob. 1822). By P. A. Hall.</a></td> </tr> <tr> <td class="center"><a href="#Plate_XXXVII" style= @@ -681,7 +641,7 @@ illustrated in these pages.</p> <td class="tdr"><a href="#Plate_XXXVIII" style= "text-decoration: none;">XXXVIII.</a></td> <td class="c1"><a href="#i_116a.jpg" style= - "text-decoration: none;">"Portrait of a Boy—name unknown." By Jean Honoré Fragonard.</a> + "text-decoration: none;">"Portrait of a Boy—name unknown." By Jean Honoré Fragonard.</a> </td> </tr> <tr> @@ -707,7 +667,7 @@ illustrated in these pages.</p> <td class="tdr"><a href="#Plate_XLIII" style= "text-decoration: none;">XLIII.</a></td> <td class="c1"><a href="#i_126a.jpg" style= - "text-decoration: none;">"La Princesse de Lieven (<i>née</i> Dorothy Benckendorff)" + "text-decoration: none;">"La Princesse de Lieven (<i>née</i> Dorothy Benckendorff)" (1784-1857). By E. W. Thompson.</a></td> </tr> <tr> @@ -1078,7 +1038,7 @@ 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 +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 @@ -1418,7 +1378,7 @@ belonged to the Mrs. Milton who is immortalised by the poet in his twenty-third sonnet, where he speaks of her as</p> <p> -<span style="margin-left: 1em;">"My late espousèd saint,</span><br /> +<span style="margin-left: 1em;">"My late espousèd saint,</span><br /> <span style="margin-left: 1em;">Brought to me like Alcestis from the grave,</span>" </p> @@ -1582,7 +1542,7 @@ illustrated here in monotone (<a href="#Plate_XII" style= "text-decoration: none;">Plate XII.</a>). 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 +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 @@ -1937,7 +1897,7 @@ 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, +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 @@ -1965,7 +1925,7 @@ to her. The portrait shows her in the hey-day of beauty.</p> <p>By Hall, the Swede, who lived in Paris, and is generally regarded as a Frenchman, we illustrate a portrait of the <i>Countess -Sophie Potoçki</i> (<a href="#Plate_XXXVII" style= +Sophie Potoçki</i> (<a href="#Plate_XXXVII" style= "text-decoration: none;">Plate XXXVII., No. 2</a>), 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 @@ -1973,7 +1933,7 @@ 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 +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 @@ -2078,7 +2038,7 @@ 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 +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 @@ -2091,9 +2051,9 @@ a light gauzy scarf which he wound about his sitter, and which he painted to perfection, we give two portraits, one a portrait of <i>Catherine, Countess Beauchamp</i>, from the collection of Lady Maria Ponsonby (<a href="#Plate_XLI" style= -"text-decoration: none;">Plate XLI.</a>), and the other depicting <i>Fürstin Katharina +"text-decoration: none;">Plate XLI.</a>), and the other depicting <i>Fürstin Katharina Bagration Shawronska</i> (<a href="#Plate_XLII" style= -"text-decoration: none;">Plate XLII.</a>), from the collection of Fürst +"text-decoration: none;">Plate XLII.</a>), from the collection of Fürst Franz Auersperg.</p> <p>One of the loveliest miniatures Isabey ever painted is that representing @@ -2107,7 +2067,7 @@ on <a href="#Plate_XLIII" style= <p>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 +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 @@ -2140,7 +2100,7 @@ than those of the early years, although with them is included a brilliant unfinished sketch, representing <i>The Father of Madame Seguin</i> (<a href="#Plate_XLIV" style= "text-decoration: none;">Plate XLIV., No. 2</a>). The one from Mr. Ward Usher's collection -represented in colour is a portrait of <i>Madame Récamier</i> (<a href="#Plate_XLV" style= +represented in colour is a portrait of <i>Madame Récamier</i> (<a href="#Plate_XLV" style= "text-decoration: none;">Plate XLV.</a>), that from Mr. Morgan's collection in monotone, the famous <i>Madame de Boufflers</i> (<a href="#Plate_XLIV" style= @@ -2182,15 +2142,15 @@ Emperor's sister, <i>Princess Pauline Borghese</i> (<a href="#Plate_XLVII" style "text-decoration: none;">Plate XLVII.</a>).</p> <p>Special attention has been given in our illustrations to the work -of the great Viennese miniature painter Füger, because very little is +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 +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 +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 @@ -2199,21 +2159,21 @@ 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 +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 +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 +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 +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 @@ -2247,7 +2207,7 @@ 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 +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 @@ -2262,7 +2222,7 @@ was like.</p> <p>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 +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 @@ -2270,7 +2230,7 @@ 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; +collection of another Viennese collector, Gräfin Emma Wilczek-Emo-Capodilista; and for permission to illustrate this delightful miniature (<a href="#Plate_LIV" style= "text-decoration: none;">Plate LIV.</a>) we are particularly grateful, as it is a @@ -2288,7 +2248,7 @@ for some exceptional occasion, perhaps a masquerade, as the custom to wear fantastic head-dresses for such special entertainments still prevails in Vienna.</p> -<p>Finally we must mention Ferdinand Georg Waldmüller, whose +<p>Finally we must mention Ferdinand Georg Waldmüller, whose own portrait by himself appears on <a href="#Plate_LVI" style= "text-decoration: none;">Plate LVI</a>. He was one of Lampi's pupils, but, like Daffinger, a profound admirer of Sir @@ -2643,7 +2603,7 @@ who exhibited in the early days of the Royal Academy.</p> </div> <div> </div> <div class="center"> - <span class="caption">VISCOUNTESS ST. ASAPH (<i>NÉE</i> LADY CHARLOTTE PERCY)<br /> SECOND WIFE OF GEORGE, VISCOUNT ST. ASAPH, AFTERWARDS<br /> + <span class="caption">VISCOUNTESS ST. ASAPH (<i>NÉE</i> LADY CHARLOTTE PERCY)<br /> SECOND WIFE OF GEORGE, VISCOUNT ST. ASAPH, AFTERWARDS<br /> THIRD EARL OF ASHBURNHAM<br /> BY RICHARD COSWAY, R.A.</span> </div> @@ -3232,7 +3192,7 @@ who exhibited in the early days of the Royal Academy.</p> <div class="center"> <span class="caption">PORTRAIT OF A BOY<br /> (NAME UNKNOWN)<br /> - BY JEAN HONORÉ FRAGONARD</span> + BY JEAN HONORÉ FRAGONARD</span> </div> <p> </p> <div class="figcenter"><a name="i_116b.jpg" id="i_116b.jpg"></a> @@ -3342,10 +3302,10 @@ who exhibited in the early days of the Royal Academy.</p> </div> <div> </div> <div class="center"> - <span class="caption">FÜRSTIN KATHARINA BAGRATION SKAWRONSKA<br /> + <span class="caption">FÃœRSTIN KATHARINA BAGRATION SKAWRONSKA<br /> BY JEAN BAPTISTE ISABEY (1812)</span> </div> - <p class="center">From the collection of Fürst Franz Auersperg</p> + <p class="center">From the collection of Fürst Franz Auersperg</p> </div> <p> </p> @@ -3365,7 +3325,7 @@ who exhibited in the early days of the Royal Academy.</p> <div> </div> <div class="center"> <span class="caption">LA PRINCESSE DE LIEVEN<br /> - (<i>NÉE</i> DOROTHY BENCKENDORFF)<br /> + (<i>NÉE</i> DOROTHY BENCKENDORFF)<br /> (1784-1857)<br /> BY E. W. THOMPSON</span> </div> @@ -3431,7 +3391,7 @@ who exhibited in the early days of the Royal Academy.</p> </div> <div> </div> <div class="center"> - <span class="caption">MADAME RÉCAMIER<br /> + <span class="caption">MADAME RÉCAMIER<br /> BY J. B. JACQUES AUGUSTIN</span> </div> <p class="center">From the collection of Mr. J. Ward Usher</p> @@ -3486,7 +3446,7 @@ who exhibited in the early days of the Royal Academy.</p> <div> </div> <div class="center"> <span class="caption">PRINCE FRANZ W. HOHENLOHE<br /> - BY HEINRICH FRIEDRICH FÜGER</span> + BY HEINRICH FRIEDRICH FÃœGER</span> </div> <p class="center">From the Figdor collection</p> </div> @@ -3504,7 +3464,7 @@ who exhibited in the early days of the Royal Academy.</p> <div> </div> <div class="center"> <span class="caption">PORTRAIT OF A LADY—NAME UNKNOWN<br /> - BY HEINRICH FRIEDRICH FÜGER (CIRCA 1790)</span> + BY HEINRICH FRIEDRICH FÃœGER (CIRCA 1790)</span> </div> <p class="center">From the Figdor collection</p> </div> @@ -3522,7 +3482,7 @@ who exhibited in the early days of the Royal Academy.</p> <div> </div> <div class="center"> <span class="caption">EMPRESS MARIA THERESIA, SECOND WIFE OF THE EMPEROR FRANCIS I OF AUSTRIA<br /> - BY HEINRICH FRIEDRICH FÜGER</span> + BY HEINRICH FRIEDRICH FÃœGER</span> </div> <p class="center">From the Figdor collection</p> </div> @@ -3540,7 +3500,7 @@ who exhibited in the early days of the Royal Academy.</p> <div> </div> <div class="center"> <span class="caption">MARIE THERESIA, COUNTESS VON DIETRICHSTEIN<br /> - BY HEINRICH FRIEDRICH FÜGER</span> + BY HEINRICH FRIEDRICH FÃœGER</span> </div> <p class="center">From the Figdor collection</p> </div> @@ -3557,8 +3517,8 @@ who exhibited in the early days of the Royal Academy.</p> </div> <div> </div> <div class="center"> - <span class="caption">FÜRSTIN ANNA LIECHTENSTEIN-KHEVENHÜLLER<br /> - BY HEINRICH FRIEDRICH FÜGER (CIRCA 1795)</span> + <span class="caption">FÃœRSTIN ANNA LIECHTENSTEIN-KHEVENHÃœLLER<br /> + BY HEINRICH FRIEDRICH FÃœGER (CIRCA 1795)</span> </div> <p class="center">From the Figdor collection</p> </div> @@ -3593,10 +3553,10 @@ who exhibited in the early days of the Royal Academy.</p> </div> <div> </div> <div class="center"> - <span class="caption">GRÄFIN SOPHIE NARISKINE<br /> + <span class="caption">GRÄFIN SOPHIE NARISKINE<br /> BY MORITZ MICHAEL DAFFINGER (CIRCA 1835)</span> </div> - <p class="center">From the collection of Gräfin Emma Wilczek-Emo-Capodilista</p> + <p class="center">From the collection of Gräfin Emma Wilczek-Emo-Capodilista</p> </div> <p> </p> @@ -3628,7 +3588,7 @@ who exhibited in the early days of the Royal Academy.</p> </div> <div> </div> <div class="center"> - <span class="caption">GRÄFIN SIDONIE POTOCKA—DE LIGNE<br /> + <span class="caption">GRÄFIN SIDONIE POTOCKA—DE LIGNE<br /> BY EMANUEL PETER</span> </div> </td> @@ -3650,7 +3610,7 @@ who exhibited in the early days of the Royal Academy.</p> <div class="center"> <span class="caption">PORTRAIT OF THE ARTIST<br /> (1793-1885)<br /> - BY FERDINAND GEORG WALDMÜLLER</span> + BY FERDINAND GEORG WALDMÃœLLER</span> </div> <p class="center">From the Figdor Collection</p> </div> @@ -3665,387 +3625,6 @@ who exhibited in the early days of the Royal Academy.</p> <p class="center">Obvious punctuation and spelling errors repaired.</p> </div> - - - - - - - -<pre> - - - - - -End of Project Gutenberg's Portrait Miniatures, by George C. 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