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diff --git a/40532-8.txt b/40532-8.txt deleted file mode 100644 index 48ea7a4..0000000 --- a/40532-8.txt +++ /dev/null @@ -1,2392 +0,0 @@ -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) - - - - - - - - - - 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. 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