,,portrait ,,miniatures ,,text ,,by ,dr4 ,,george ,c4 ,,williamson ,,edited ,,by ,,charles ,,holme ,,mcmx ',,the ,,studio' ,,ltd4 ,,london1 ,,paris1 ,,new ,,york ,,prefatory ,,note4 ,the ,author and ,editor desire to express their grateful thanks to ,frst ,franz ,auersperg1 ,sir ,charles ,dilke1 ,bart41 ,dr4 ,figdor1 ,mr4 ,e4 ,m4 ,hodgkins1 ,lord ,hothfield1 ,mr4 ,j4 ,pierpont ,morgan1 ,lady ,maria ,ponsonby1 ,mr4 ,j4 ,ward ,usher1 ,grfin ,emma ,wilczck-,emo-,capodilista1 and the anonymous collector1 who have so kindly placed their treasures at their disposal1 and permitted them to be illustrated in these pages4 ,the copyright of all the illustrations in this volume is strictly reserved by the author on behalf of the respective owners of the miniatures4 ,,illustrations ,,in ,,colour4 ,plate ,,ii4 ,queen ,elizabeth4 ,by ,nicholas ,hilliard4 ,,iv4 ,a son of ,sir ,kenelm ,digby4 ,by ,isaac ,oliver 7#afcb74 ,frederick1 ,king of ,bohemia4 ,by ,isaac ,oliver4 ,queen of ,bohemia4 ,by ,isaac ,oliver4 ,v4 ,the ,duke of ,buckingham4 ,by ,john ,hoskins1 the ,elder4 ,,viii4 ,colonel ,lilburne 7#afah-afeg74 ,by ,samuel ,cooper4 ,viscountess ,fauconberg1 daughter of ,oliver ,cromwell4 ,by ,samuel ,cooper4 ,,ix4 ,miss ,christian ,temple4 ,by or after ,samuel ,cooper4 ,rachel ,fane1 ,countess of ,bath and later of ,middlesex 7#afab-afhj74 ,by ,david des ,granges4 ,x4 ,john ,milton4 ,artist unknown4 ,,xi4 ,george1 ,prince of ,denmark4 ,by ,christian ,richter4 ,,xiii4 ,viscountess ,st4 ,asaph 7ne ,lady ,charlotte ,percy71 second wife of ,george1 ,viscount ,st4 ,asaph1 afterwards third ,earl of ,ashburnham4 ,by ,richard ,cosway1 ,r4,a4 ,,xv4 ,lucy1 wife of ,william ,h4 ,nassau1 fourth ,earl of ,rochford4 ,by ,richard ,cosway1 ,r4,a4 ,,xvi4 ,h4,r4,h4 ,princess ,charlotte of ,wales 7#agif-ahag74 ,by ,richard ,cosway1 ,r4,a4 ,,xvii4 ,henry ,tufton1 eleventh and last ,earl of ,thanet 7#agge-ahdi74 ,by ,richard ,cosway1 ,r4,a4 ,,xix4 ,the ,hon4 ,edward ,percival1 second son of ,john1 second ,earl of ,egmont 7#agdd-ahbd74 ,by ,john ,smart 7#ahja74 ,the ,hon4 ,mrs4 ,edward ,percival4 ,by ,john ,smart4 ,,xx4 ,earl ,beauchamp4 ,by ,george ,engleheart7#ahje74 ,,xxii4 ,mrs4 ,sainthill4 ,by ,george ,engleheart4 ,john ,jelliard ,brundish1 ,m4,a41 ,smith ,prizeman and ,senior ,wrangler in #aggc4 ,by ,george ,engleheart4 ,,xxv4 ,elizabeth1 ,margaret ,caroline1 and ,antoinette1 daughters of ,john ,ellis1 ,esq41 of ,hurlingham4 ,middlesex1 and ,jamaica4 ,by ,andrew ,plimer4 ,,xxvi4 ,selina ,plimer4 ,by ,andrew ,plimer4 ,,xxvii4 ,the ,sisters ,rushout4 ,by ,andrew ,plimer4 ,,xxviii4 ,mrs4 ,bailey1 wife of ,lieutenant ,bailey1 who was present at the storming of ,seringapatam in #agii4 ,by ,andrew ,plimer4 ,,xxix4 ,sir ,charles ,kent1 ,bart41 as a child4 ,by ,andrew ,plimer 7#aghf74 ,mrs4 ,dawes4 ,by ,nathaniel ,plimer 7#agih74 ,,xxx4 ,charlotte1 ,duchess of ,albany1 daughter of ,charles ,edward ,stuart by ,clementina1 tenth daughter of ,john ,walkenshaw 7#agec-aghi74 ,by ,ozias ,humphry4 ,mary1 wife of the eighth ,earl of ,thanet 7ob4 #aggh74 ,by ,ozias ,humphry4 ,,xxxi4 ,lieutenant ,lygon4 ,by ,john ,smart1 jun4 7#ahjc74 ,,xxxii4 ,lady ,mary ,elizabeth ,nugent1 afterwards ,marchioness of ,buckingham1 and in her own right1 ,baroness ,nugent 7ob4 #ahab74 ,by ,horace ,hone4 ,the ,rt4 ,hon4 ,william ,pitt4 ,by ,horace ,hone4 ,,xxxiii4 ,miss ,vincent4 ,by ,vaslet of ,bath4 ,,xxxiv4 ,the ,countess of ,jersey4 ,by ,sir ,george ,hayter 7#ahai74 ,,xxxv4 ,louis ,,xiv4 ,by ,jean ,petitot1 the ,elder4 ,,xl4 ,the ,empress ,josephine4 ,by ,jean ,baptiste ,isabey4 ,the ,empress ,marie ,louise4 ,by ,jean ,baptiste ,isabey4 ,,xli4 ,catharine1 ,countess ,beauchamp4 ,by ,jean ,baptiste ,isabey4 ,,xlii4 ,frstin ,katharina ,bagration ,skawronska4 ,by ,jean ,baptiste ,isabey 7#ahab74 ,,xlv4 ,madame ,rcamier4 ,by ,j4 ,b4 ,jacques ,augustin4 ,,xlvi4 ,marie ,antoinette4 ,by ,m4 ,v4 ,costa4 ,,xlvii4 ,princess ,pauline ,borghese4 ,by ,b4 ,anguissola4 ,,xlviii4 ,prince ,franz ,w4 ,hohenlohe4 ,by ,heinrich ,friedrich ,fger4 ,,xlix4 ,portrait of a ,lady--name unknown4 ,by ,heinrich ,friedrich ,fger 7circa #agij74 ,l4 ,empress ,maria ,theresia1 second wife of the ,emperor ,francis ,i4 of ,austria4 ,by ,heinrich ,friedrich ,fger4 ,,li4 ,marie ,theresia1 ,countess von ,dietrichstein4 ,by ,heinrich ,friedrich ,fger4 ,,lii4 ,frstin ,anna ,liechtenstein-,khevenhuller4 ,by ,heinrich ,friedrich ,fger 7circa #agie74 ,,liii4 ,portrait of the ,artist4 ,by ,giovanni ,battista de ,lampi4 ,,liv4 ,grfin ,sophie ,nariskine4 ,by ,moritz ,michael ,daffinger 7circa #ahce74 ,,lv4 ,portrait of a ,lady--name unknown4 ,by ,emanuel ,peter4 ,grfin ,sidonie ,potoka-de ,ligne4 ,by ,emanuel ,peter 7circa #ahbj74 ,,lvi4 ,portrait of the ,artist 7#agic-ahfe74 ,by ,ferdinand ,georg ,waldmller4 ,,illustrations ,,in ,,monotone4 ,plate ,i4 ,mrs4 ,pemberton4 ,by ,hans ,holbein4 ,,iii4 ,mary1 ,queen of ,scots4 ,by ,nicholas ,hilliard4 ,philip ,,ii41 ,king of ,spain4 ,by ,isaac ,oliver4 ,queen ,anne of ,denmark4 ,by ,isaac ,oliver4 ,,vi4 ,queen ,henrietta ,maria4 ,by ,john ,hoskins1 the ,elder4 ,,vii4 ,charles ,,ii4 ,by ,samuel ,cooper4 ,john1 ,earl of ,loudoun4 7#aeih-affb74 ,by ,samuel ,cooper4 ,,xii4 ,madame du ,barry 7#agdf-agic74 ,by ,richard ,cosway1 ,r4,a4 ,,xiv4 ,lady ,augusta ,murray1 wife of the ,duke of ,sussex4 ,by ,richard ,cosway1 ,r4,a4 ,henrietta1 ,lady ,duncannon1 afterwards ,countess of ,bessborough 7ob4 #ahba74 ,by ,richard ,cosway1 ,r4,a4 ,,xviii4 ,sir ,charles ,oakeley 7#agea-ahbf74 ,by ,john ,smart4 ,portrait of a ,lady--name unknown4 ,by ,john ,smart4 ,,xxi4 ,miss ,mary ,berry4 ,by ,george ,engleheart4 ,,xxiii4 ,rebecca1 ,lady ,northwick 7ob4 #ahah74 ,by ,andrew ,plimer4 ,,xxiv4 ,the ,hon4 ,harriet ,rushout 7ob4 #ahea74 ,by ,andrew ,plimer4 ,the ,hon4 ,anne ,rushout 7ob4 #ahdi74 ,by ,andrew ,plimer4 ,the ,hon4 ,elizabeth ,rushout 7ob4 #ahfb74 ,by ,andrew ,plimer4 ,,xxxvi4 ,charles ,i4 ,by ,p4 ,prieur4 ,mary1 ,duchess of ,richmond and ,lenox 7#afbc-afhe74 ,by ,jean ,petitot1 the ,elder 7#afdc74 ,,xxxvii4 ,madame ,dupin 7ob4 #agii74 ,by ,jean ,marc ,nattier4 ,the ,countess ,sophie ,potoki 7ob4 #ahbb74 ,by ,p4 ,a4 ,hall4 ,la ,princesse de ,lamballe 7ob4 #agib74 ,by ,p4 ,a4 ,hall4 ,,xxxviii4 ,portrait of a ,boy--name unknown4 ,by ,jean ,honor ,fragonard4 ,portrait of a ,lady--name unknown4 ,by ,pierre ,pasquier 7#aghf74 ,,xxxix4 ,a ,grand-daughter of ,nattier1 the ,artist4 ,by ,louis ,sicardi4 ,la ,marquise de ,villette 7,belle et ,bonne74 ,by ,garriot4 ,,xliii4 ,la ,princesse de ,lieven 7ne ,dorothy ,benckendorff7 7#aghd-aheg74 ,by ,e4 ,w4 ,thompson4 ,queen ,hortense and her son1 afterwards ,napoleon ,,iii4 7#ahjh-ahgc74 ,by ,jean ,baptiste ,isabey4 ,,xliv4 ,madame de ,boufflers 7#agbe-ahjj74 ,by ,j4 ,b4 ,jacques ,augustin4 ,the ,father of ,madame ,seguin4 ,by ,j4 ,b4 ,jacques ,augustin4 ,,portrait ,,miniatures4 ,by ,dr4 ,g4 ,c4 ,williamson4 ,a recent ,french writer1 in referring to the art of portrait painting1 exalted it to the highest rank1 proclaiming it the greatest of all arts4 ,he then proceeded1 by a series of curious antithetical sentences1 to set forth his opinion of portrait painting1 stating that it was at once the oldest and the most modern of arts1 the easiest and the most difficult1 the simplest and the most abstruse1 the clearest and the most subtle4 ,his statement1 it is clear1 contained a definite basis of truth1 coupled with a certain interesting extravagance of expression4 ,it is quite true that to draw a portrait was the aim of the very earliest of draughtsmen1 whether it was that of his companion or of one of the beasts of chase1 and whether he carved it on a bone1 or daubed it on the wall of his dwelling4 ,the first endeavour1 also1 of a child1 playing with a pencil1 or a brush1 is to draw a portrait1 and the very simplest outline does occasionally reveal that an idea of portraiture is latent in the mind of the young artist4 ,if only simplicity of line is desired1 nothing can be more simple1 while at the same time nothing is more perfect1 than the outline or profile drawing of such a great artist as ,holbein1 or the work of some of the early ,french draughtsmen4 ,at the same time1 the subtlety of this draughtsmanship cannot be denied4 ,for complexity and difficulty1 portraiture takes a supreme place1 and yet1 on the other hand1 as the ,frenchman points out in his antithetical sentences1 it is to a certain extent a simple art1 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 portrait4 ,many a painter thinks at first that portraiture is simple and easy1 in fact he finds it so1 but the older he grows1 the more does he realise that the human features are complex in the extreme1 and that the variations of expression make the difficulties in the task of portraying them enormous4 ,from very early times1 however1 there has been a natural desire to have portraits of the persons about us1 and to have these portraits in portable form2 hence1 after a long succession of vicissitudes1 has come the miniature4 ,it is perhaps as well1 even though the statement has been made over and over again1 to emphasize the fact that the actual word miniature has nothing whatever to do with the size of the portrait4 ,we accept it1 however1 as implying that the portrait is of portable size1 and we shall apply it to such a portrait as can lie in the palm of one's hand1 ignoring the fact that the word was originally derived from minium or red lead1 and has come down to us from the little portraits on illuminated manuscripts1 outlined or bordered with lines of red4 ,in two countries especially1 the art of painting miniatures has flourished1 ,england and ,france1 and in these two countries there have been schools of miniature painters1 and a succession of great exponents of the art1 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 art1 and have taken high position in it4 ,it is more especially an ,english art1 because1 although for exquisite grace1 charming colouring1 and dainty conception1 the works of the ,french miniature painters take a high rank1 even they must yield the palm for representation of character to the greatest ,english painter of miniatures1 ,samuel ,cooper4 ,moreover1 in no country but ,england has there been such a long series of painters in miniature1 extending from the sixteenth-century down to comparatively recent times4 ,it has been the fashion to commence a survey of ,english miniature painters by reference to ,holbein1 and it is not altogether an unsatisfactory manner in which to start 7although ,holbein was not an ,englishman71 because so many of his best works were painted in this country4 ,it must not1 however1 be forgotten that portrait painting was practised by native ,english artists in the early part1 or at least in the middle1 of the fifteenth-century1 and although we know very little indeed about these ,english painters1 yet we have many works remaining which must be attributed to them4 ,it may1 moreover1 be stated generally that the predecessors and contemporaries of ,holbein in miniature work were mostly of foreign extraction1 although working in ,england2 such1 for example1 as ,lavina ,terlinck and ,gwillym ,stretes4 ,we know1 however1 that certain fourteenth-century manuscripts were actually executed in ,england1 by an ,english artist1 and as an example of such work1 ,mr4 ,lionel ,cust1 in his preface to the ,english ,portraiture ,exhibition at the ,burlington ,fine ,arts ,club1 points out the ,salisbury ,lectionarium1 with the portrait of ,lord ,lovell as its frontispiece1 representing him receiving the book from its maker1 ,john ,siferwas4 ,he refers also to the even better known portrait of ,chaucer1 painted by ,occlive on the manuscript now in the ,british ,museum4 ,there is also no question that the actual art of portrait miniature1 such as we understand it at the present day1 arose from that of painting portraits on manuscripts1 and1 as we have already pointed out in another place1 it may further be derived from the similar portraits attached to treaties and to documents handed over to ambassadors4 ,the illumination of a portrait of ,francis ,i4 on the ratification of a treaty of peace with ,england1 ,august #ahth1 #aebg1 is a case in point4 ,it represents the ,french ,king in excellent fashion1 delineating character as well as portraiture1 and is the work of a painter of no mean skill and discernment4 ,similar portraits of ,henry ,,viii41 and ,philip and ,mary1 dated #aedc and #aeef1 and painted in ,england1 are not of such a high character as is the one of ,francis1 but still are sufficient to enable us to regard them as true portraits1 representative of the monarchs as they were4 ,who first1 says ,mr4 ,cust1 cut out the portrait in miniature from an illumination1 and inserted it in a jewelled or ivory case or picture-box1 it is impossible to surmise1 but such a caprice1 once started1 was likely quickly to become popular4 ,who first gave up the use of vellum for such portraits1 and found that a playing card in use at that day was a more convenient material on which to paint1 we also do not know2 nor who1 again1 stretched a very fine piece of vellum or chicken-skin upon the playing-card1 and used that as his basis1 but the earliest ,elizabethan miniatures painted in ,england are done in one of these two methods4 ,prominent amongst the names of the ,tudor painters stands out that of ,hans ,holbein the younger1 and in the art of composition it is doubtful whether any successor has equalled him in consummate skill4 ,the illustration which we are allowed to give from ,mr4 ,pierpont ,morgan's collection1 and which represents ,mrs4 ,pemberton 7,plate ,i471 is one of the most astonishing works ever produced by a miniature painter4 ,the figure is so perfectly composed1 and so marvellously set within the small compass of the circle1 while the modelling is so subtle and delicate1 so refined1 and distinguished by such perfection of line and economy of material that it is always a delight to regard it1 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 produced4 ,it cannot be said that all ,holbein's works are on as high a level as is this particular picture1 but the two portraits in the possession of the ,queen of ,holland1 one representing a young lady1 and the other an older man2 the portrait of the painter in the possession of the ,duke of ,buccleuch2 the wonderful ,anne of ,cleves in the collection of the late ,mr4 ,george ,salting2 and the companion one of ,henry ,,viii1 in ,mr4 ,pierpont ,morgan's cabinet1 are all distinguished by the same perfection of draughtsmanship and skill of composition4 ,in ,holbein we have1 therefore1 a fitting master1 from whom to start the long series of miniature painters1 which in ,england extended away down to the beginning of the nineteenth century1 or even perhaps a little later1 and in his successor1 ,nicholas ,hilliard1 we find the first of the masters who was actually an ,englishman born and bred4 ,from whom ,hilliard learned his art it is impossible to tell4 ,it would be most interesting could we decide if he ever came into contact with ,holbein1 and hardly less so were we able to determine that any other master first gave him lessons in this fascinating art4 ,that he began painting as quite a boy constitutes almost our first fact respecting him1 and that is proved by his own portrait at the age of thirteen1 signed with the young painter's initials in the usual conjoined form1 and dated #aeej4 ,of his history we know that ,hilliard was the son of a man who was the ,high ,sheriff of ,exeter in #aefj1 ,richard ,hilliard by name1 and that his mother was ,laurence1 the daughter of ,john ,wall1 a goldsmith of ,london4 ,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 son1 and ,walpole gives us the information respecting ,hilliard's mother1 corroborated by the fact that the painter named his son ,laurence after his own mother4 ,we also know that he married twice1 as the portrait of his first wife ,alicia ,brandon at the age of twenty-two is in the ,duke of ,buccleuch's collection1 and the inscription upon it1 evidently added by the painter after his wife's death1 tells us that he married again4 ,who his second wife was we do not know1 but it seems probable that he survived her1 because she is not mentioned in his will1 and in it he constitutes his son ,laurence his sole heir and executor4 ,he was always spoken of with great respect by his contemporaries1 is styled ,gentleman or ,mr41 and his illness in #afaj is carefully referred to in the ,state ,papers2 while ,james ,i41 when he gives him the ,royal ,warrant of painting1 expressly styles him our well-beloved ,gentleman1 ,nicholas ,hylliard4 ,it seems probable that by trade he was originally a goldsmith1 and his portraits show us that the craft of the goldsmith had exercised a great influence over his life4 ,in his delicate miniature portraits ,hilliard never forgot his original craft1 and even went so far upon occasion as to introduce what was distinctly jeweller's work into the portraits themselves4 ,there is1 for example1 an actual diamond1 minute certainly1 set in one of his portraits1 and the raised work representing jewels in other portraits is wrought with such skill and delicacy that only a goldsmith could encompass it4 ,we know that he took ,holbein as his model1 for he himself says so1 but his work is very different from that of the great ,swabian4 ,it is ornamental and decorative1 very delicate1 and elaborate1 but flat and shadowless1 and altogether lacking in the marvellous subtle modelling which marks out the work of ,holbein4 ,it resembles1 in fact1 more nearly the work of the early illuminators4 ,it seems probable that ,hilliard was not only a skilful miniature painter1 but also an actual working goldsmith1 and responsible for many of the extraordinary frames in which his portraits were set4 ,miss ,helen ,farquhar has with great skill elaborated a theory which tends to prove this1 and which appeared in a recent issue of the ,numismatic ,chronicle4 ,certain jewels and miniature cases have been in the past attributed to the artist1 and the result of ,miss ,farquhar's investigation is to make it more clear that such attribution has been accurate4 ,hilliard painted ,queen ,elizabeth many times1 and amongst our illustrations will be found a portrait of the ,queen 7,plate ,,ii47 from the cabinet of a well-known collector1 which sets forth the artist's peculiar technique4 ,we also present an interesting example from ,mr4 ,pierpont ,morgan's collection which has been called a portrait of ,mary ,queen of ,scots 7,plate ,,iii41 ,no4 #b74 ,it is dated #aeha1 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 ,clouet4 ,it is undoubtedly the work of ,hilliard1 and of remarkable excellence1 and takes its place amongst the more or less mysterious portraits bearing the name of the ill-fated ,queen4 ,hilliard died in #afai1 and appears to have been succeeded in his royal appointments and his professional work by his son ,laurence1 whose paintings so closely resemble those of the father that it is not always easy to distinguish the work of the two men4 ,very few of ,laurence ,hilliard's works are signed2 there are two belonging to ,earl ,beauchamp1 and one in the collection of ,mr4 ,pierpont ,morgan4 ,the main feature of the son's work consists in the beauty of the calligraphy in the inscriptions around the portraits4 ,it is clearer than the more formal handwriting of the father1 but florid1 full of exquisite curves and flourishes1 and very elaborate1 while the colour scheme adopted by the son is distinctly richer and more varied than that used by the father1 and the composition is not quite so rigid and hard as was that of ,nicholas4 ,the two ,hilliards were1 however1 succeeded by two far greater men--the ,olivers4 ,one of them1 ,isaac1 the father1 was certainly ,nicholas ,hilliard's pupil1 as the fact is mentioned more than once in ,haydock's preface to his translation of ,lomazzo4 ,it seems to be possible that some of ,isaac ,oliver's works were copies of those of his master1 and copies so accurately executed that it is not quite easy to determine respecting them4 ,in the cabinet of ,mr4 ,pierpont ,morgan there is1 for example1 a miniature of ,arabella ,stuart which came from ,walpole's collection4 ,it has always borne the name of ,hilliard1 and ,walpole himself was careful in the attributions he gave to his portraits1 but in the ,rijks ,museum at ,amsterdam there are two other portraits of the same lady1 one of which is stated to be signed under the frame with the initials of ,isaac ,oliver1 and there are two more1 even more closely resembling it1 in the collection at ,sherborne ,castle4 ,the ,morgan portrait is very characteristic of ,hilliard1 and the two in ,amsterdam closely resemble it4 ,our suggestion for a solution of the difficulty is that the two ,dutch portraits are early copies by ,oliver from his master's work4 ,oliver was an extremely expert painter1 and a far more clever man than ,hilliard1 for the pencil drawings of the painter and his wife1 which belong to the ,earl of ,derby1 reveal him as a draughtsman of consummate skill4 ,he was probably of ,huguenot descent1 the son1 it is believed1 of a certain ,peter ,olivier 7or ,oliver71 a native of ,rouen1 who was residing in ,london in #aega1 and we may take it that his birth was in about #aeff2 his death occurred in #afag1 and he was buried in the church of ,st4 ,anne's1 ,blackfriars4 ,amongst our colour plates are two delightful portraits by him representing ,frederick1 ,king of ,bohemia1 and his ,wife1 who was known in ,england as the ,queen of ,hearts1 signed miniatures from the collection of ,sir ,charles ,dilke 7,plate ,,iv41 ,nos4 #b and #c74 ,in the monotone illustrations there appear two remarkable works by this painter from the collection of ,mr4 ,pierpont ,morgan4 ,one represents ,philip ,,ii41 ,king of ,spain 7,plate ,,iii41 ,no4 #a71 a fine portrait1 set in an elaborate locket of rock-crystal and enamel work1 upon the reverse of which is a representation of the ,crucifixion in grisaille4 ,this portrait has an interesting history1 because it was given by the king to the ,duke of ,osuna1 and acquired from the ,osuna family1 quite recently4 ,it bears a motto which may roughly be translated ,he who gives himself1 gives not a little thing1 words which are eminently characteristic of the pride of the ,spanish monarch4 ,the other portrait is of hardly less interest4 ,it depicts ,queen ,anne of ,denmark 7,plate ,,iii41 ,no4 #c71 who was painted over and over again by ,isaac ,oliver1 and who can always be readily distinguished by the jewels which she wore on her elaborate high collar or ruff4 ,amongst them invariably appears a representation of a sea-horse or a dolphin4 ,this may perhaps have some allusion to her ,scandinavian ancestry1 but1 in any case1 it was a favourite jewel with the queen1 and hardly one of her portraits appears without it4 ,here1 again1 the case containing the miniature is of extraordinary importance1 because there is good evidence for attributing it to ,george ,heriot1 who was goldsmith and jeweller to ,anne of ,denmark1 and was the founder of the great hospital and school which still bear his name in ,edinburgh1 while to the present generation he is perhaps better remembered as a character in ,sir ,walter ,scott's ,fortunes of ,nigel1 in which delightful work he appears as ,jingling ,geordie4 ,there are portraits of ,oliver himself in existence1 and a delightful one of his son1 while amongst the collection of the ,queen of ,holland there is one that is said to represent his wife4 ,the most notable series of the works of this painter is perhaps that which is generally known as the ,digby series4 ,walpole tells the story of the discovery of these miniatures4 ,he says that they were in a garret in an old house in ,wales1 enclosed in ebony and ivory cases1 and locked up in a wainscot box1 in which they were as well preserved as though only just painted4 ,he was greatly excited about them1 and was able to secure the entire collection1 first buying from one owner the greater part of the collection1 and then securing by a second purchase the remainder from the lady who shared them with the other heir4 ,they were all sold at his sale at ,strawberry ,hill1 and some of the finest of the portraits passed into the collection of the late ,baroness ,burdett-,coutts1 others went to ,mr4 ,holford1 and many back again to the ,digby family1 who would gladly have purchased the whole1 but were unable to afford the prices paid by the ,baroness ,burdett-,coutts1 then ,miss ,angela ,coutts4 ,one little portrait was bought by ,mr4 ,wentworth ,dilke1 and now belongs to ,sir ,charles ,dilke1 it represents one of the sons of ,sir ,kenelm ,digby1 and is a charmingly graceful little work1 by the kind permission of its owner illustrated in these pages 7,plate ,,iv41 ,no4 #a74 ,the work of ,peter ,oliver cannot readily be distinguished from that of the father1 save for the signature1 and is as worthy of praise in every respect1 even if it is not more so4 ,that of the father is a little sterner and more forcible than the work of the son1 but ,peter ,oliver is not only known by his delightful miniatures1 but also by the copies in miniature size and style which he prepared for ,charles ,i41 and which represented some of the great pictures in the ,king's collection4 ,several of these copies still remain at ,windsor ,castle1 others are scattered in various collections1 and in some instances they are of peculiar importance4 ,for example1 there is one in ,mr4 ,pierpont ,morgan's collection1 representing the marriage of ,st4 ,catherine1 by a ,venetian painter1 probably ,titian or ,palma ,vecchio1 which is apparently the only record of a vanished painting at one time in the ,king's collection1 but later on sold into ,spain1 and which there perished in a fire at ,seville4 ,a curious story is told by ,horace ,walpole concerning some miniatures by ,peter ,oliver4 ,he says that ,vertue handed down the information that ,charles ,,ii4 being very anxious to re-purchase the portraits which had been dispersed on the execution of his father1 was told that the widow of ,peter ,oliver had taken back some of the miniatures1 and had them in her possession4 ,the ,king went to ,isleworth to see her1 disguising himself that he should not be known1 and she showed him several works by her husband4 ,he was pleased with them and tried to purchase them1 but the lady stated that she was anxious to submit them to the ,king1 and if he did not buy them1 a price should be named for their disposal4 ,the ,king then discovered himself to her1 and at once she showed him many more miniatures which she had not shown to anyone else1 and ,king ,charles desired to acquire them all4 ,she would not1 however1 quote a price to him1 but promised to look over her husband's books1 and let ,his ,majesty know what prices had been paid to ,peter ,oliver by ,charles ,i4 ,the ,king took away the miniatures with him1 and afterwards sent one of the grooms of the bedchamber to ,mrs4 ,oliver1 offering her a thousand pounds for them1 or an annuity of #cjj for her life4 ,she chose the latter1 but after some few years1 hearing that a great many of the miniatures had passed out of the ,king's possession1 and had been given by him to the various ladies at the ,court1 ,mrs4 ,oliver1 who was given to express herself in somewhat blunt language1 said that if she had thought the ,king would have given the miniatures to his mistresses and illegitimate children he should never have had them4 ,her remark1 which was couched in very strong language1 was carried by someone to the ,court4 ,the poor woman's annuity was at once stopped1 and she never again received it4 ,following ,isaac and ,peter ,oliver in chronological survey1 and necessarily omitting reference to some of the less important painters1 we come to the name of a man of considerable eminence in his profession1 ,john ,hoskins4 ,to a certain extent he has been overshadowed by the extraordinary merit of his nephew and pupil1 ,samuel ,cooper1 but ,hoskins was a very great painter himself1 and his work marks the beginning of the broader and more powerful ,english miniature portraiture1 as distinguished from the minute work of the men who had been trained under the influence of illuminators1 and whose miniatures were too full of detail to be entirely satisfactory4 ,there is no doubt that1 as ,walpole says1 the carnations used in the faces painted by ,hoskins are too bricky in colour1 but the whole effect of the portrait is simple and dignified1 and there is1 for the first time in ,english miniature portraiture1 a nobility of treatment and a sober grandeur of effect1 extraordinarily impressive4 ,the portrait of the ,duke of ,buckingham 7,plate ,v47 from a well-known collection1 illustrated in colour1 well sets forth the dignity of ,hoskins' works4 ,it is an exceedingly fine miniature1 quiet in colouring1 and entirely satisfactory in composition4 ,it is signed and dated1 and1 with respect to the signatures on miniatures by ,hoskins1 a few words must be said4 ,it is well also to mark that in the works of ,hoskins appears for the first time the division of the background1 which is rather a notable feature in the portraits of ,cooper1 who evidently derived the idea from his uncle4 ,the effect of this division on the lighting of the portrait is excellent1 the sitter being placed near to a window1 by which hangs a curtain1 and the window commanding a view which in many cases was adapted by the artist to some event in the history of the sitter4 ,as regards the signatures ,hoskins adopted several methods of signing his miniatures1 combining his two initials in different forms of monogram1 or separating them with or without the addition of the abbreviation fc4 ,until quite recently the statement made by ,vertue that ,hoskins had a son1 was incapable of proof2 although the fact that the contemporary inscriptions on some of the miniatures at ,ham ,house speak of ,old ,hoskins1 implies that there must have been a younger man of the same name1 and it was thought that the variety of signatures might help clear up the doubtful question1 and that perhaps the father adopted a certain method of signing his portraits1 and the son another form of signature4 ,fortunately1 however1 in the collection of ,mr4 ,pierpont ,morgan1 there appears a portrait of the ,duke of ,berwick1 signed with conjoined initials1 and bearing upon it an inscription1 stating not only who it represented1 but actually when it was painted4 ,this miniature proved to contain the missing link of evidence1 because there was no question about its authenticity1 its accurate attribution1 or its signature1 but as it was painted in #agjj1 while we know that the elder ,hoskins was buried in #affd1 we have in it definite information1 not only of the existence of the son1 but of the fact that he was painting miniatures thirty-six years after his father had died4 ,the same notable collection contains many works by the elder ,hoskins1 but only this one which can be definitely attributed to his son4 ,the collections at ,ham ,house and ,montagu ,house are very rich in works by ,hoskins1 those at the former place being distinguished by delightful contemporary inscriptions on the backs of almost every portrait1 recording in many instances the price paid to the artist for it4 ,of the works at ,montagu ,house1 one of the finest represents ,charles ,,ii4 in his youth1 and in the collection at ,ham is perhaps the largest work which ,hoskins ever painted4 ,a particularly good example of the work of this master is the portrait of ,queen ,henrietta ,maria 7,plate ,,vi47 from the ,pierpont ,morgan collection1 and this miniature is the more interesting because apparently it has never been re-framed1 for not only is the metal frame the contemporary one1 but it possesses its original bevelled glass1 the oval divided into a series of curved segments1 each of which has its polished bevelled edge4 ,waller1 in #afbe1 spoke of the ,queen in these words3-- ,such a complexion and such radiant eyes1 ,such lovely motions and such sharp replies1 ,beyond our reach1 and yet within our sight1 ,what envious power has placed this glorious light8 ,we need not1 perhaps1 accept the praises of the poet1 but at least we may admire the quiet sweetness of the ,queen's face in this charming portrait1 and recognise the skill and dexterity with which it is delineated4 ,trained and educated by ,hoskins was ,samuel ,cooper1 preeminently the greatest miniature painter that ,england ever produced1 and in the opinion of many critics the noblest miniature painter of ,europe4 ,we know comparatively little about ,cooper's history1 but there are few artists concerning whom it would be more desirable to have information4 ,fortunately1 ,pepys mentions him several times in his wonderful diary2 especially with reference to the portrait of ,mrs4 ,pepys which her husband commissioned4 ,he was evidently a great admirer of the work of ,cooper1 although1 as regards this particular portrait1 he does not appear to have been perfectly satisfied with the likeness4 ,he says he was not satisfied in the greatness of the resemblance1 nor in the blue garment1 but it was most certainly a most rare piece of work as to the painting1 and he tells us the exact price that ,cooper charged him1 and adds that he sent him the money that night that he might be out of debt4 ,aubrey calls ,cooper the prince of limners of his age4 ,ray the naturalist1 in writing to ,aubrey1 refers to a miniature portrait presented to the ,ashmolean ,museum as a noble present and a thing of great value4 ,evelyn calls him the rare limner and describes the visit which he paid to the ,king's private room1 where he found ,cooper at work painting the royal portrait1 and had the honour to hold the candle while it was being done1 as ,cooper1 he says1 chose the night and candle-light for better finding out the shadows4 ,to all this chorus of praise ,walpole adds his voice1 and tells us that1 in his opinion1 ,cooper's works were so fine that they were perfect nature1 and that if a glass could expand ,cooper's pictures to the size of ,vandyck's1 they would appear to have been painted for that proportion1 adding that if the ,cooper portrait of ,cromwell could be so enlarged1 ,i do not know but ,vandyck would appear less great by the comparison4 ,even with this criticism1 ,walpole is careful not to be entirely eulogistic1 and he points out with unerring discrimination that1 although the heads in ,cooper's portraits were so fine1 he yet possessed a lack of skill in draughtsmanship where other portions of the body were concerned1 and1 especially as regards the hands1 he had a curious want of grace and accuracy1 ,his faces1 however1 are superb1 and well deserve all the praise that can be given to them4 ,they have been called noble and masterly1 and the words are befitting4 ,the two portraits representing ,charles ,,ii4 and ,the ,earl of ,loudoun1 which we present from the ,pierpont ,morgan collection 7,plate ,,vii471 and the two in colour1 depicting ,colonel ,lilburne and ,lady ,fauconberg1 from the collection of ,mr4 ,hodgkins 7,plate ,,viii471 will well set forth the dignity and power possessed by this great master4 ,his largest miniature is the portrait of ,charles ,i4 at ,goodwood1 and there is a somewhat smaller replica by the master's own hand in the ,rijks ,museum at ,amsterdam4 ,the ,earl of ,exeter possesses one of his rare half-length portraits1 depicting ,elizabeth1 ,countess of ,devonshire1 as a girl1 and in the ,victoria and ,albert ,museum is a large square portrait of the painter1 by himself4 ,with these exceptions1 the majority of ,cooper's works are ovals1 varying in size1 representing the head and shoulders only1 and almost all the great collections of miniatures possess examples by the painter4 ,as a rule1 his colours have stood extraordinarily well2 in some instances1 however1 they have faded1 but it has generally been owing to damp or to indifferent treatment on the part of the owners of the portraits4 ,in ,mr4 ,pierpont ,morgan's collection one miniature representing ,lord ,loudoun 7,plate ,,vii41 ,no4 #b7 is in extraordinarily perfect condition1 but for a couple of generations it was lost sight of behind some oak panelling and has only recently come to light4 ,another very fine one1 in the same collection1 represents ,charles ,,ii4 7,plate ,,vii41 ,no4 #a74 ,cooper's method of painting is very interesting1 and as he has left behind several unfinished portraits1 we are enabled to study it with considerable accuracy4 ,it is clear that he commenced to draw the head and figure in brown1 and1 as a recent writer has pointed out1 painted in the shadows with transparent sienna1 and the half-tones with a pure grey blue4 ,his work is executed upon vellum as a rule1 but sometimes upon cardboard1 and his flesh tints are nearly always transparent1 although occasionally they are upon a white background1 and in some few rare instances1 where he desired special effect1 he used opaque colours4 ,several of his portraits he has never carried beyond the early stages4 ,they are only sketches1 but such sketches as no one else could have done1 exquisitely rendered1 full of palpitating life4 ,this is especially the case with the portrait of the ,duke of ,albemarle at ,windsor1 and with one in the same collection representing the ,duke of ,monmouth2 with that of ,oliver ,cromwell1 at ,montagu ,house1 and with an extraordinary little sketch1 which we illustrate in colour1 by permission of ,sir ,charles ,dilke 7,plate ,,ix41 ,no4 #a74 ,this also came from ,strawberry ,hill1 where it was bought by the grandfather of its present owner1 and it offers a bewildering problem to the student4 ,walpole declares1 in an inscription on the back of it in his own handwriting1 that it represents ,miss ,temple1 ,maid of ,honour to the ,duchess of ,york1 second wife of ,charles ,lyttelton1 and that it was the work of ,gervase ,spencer1 after an original painted by ,cooper1 in the possession of ,lord ,lyttelton1 and ,walpole ought to have known what he was talking about4 ,it is quite possible that he is correct1 but the original portrait from which this sketch is said to have been made is not now in the possession of the ,lyttelton family1 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 all4 ,we know how constantly ,cooper's work was copied1 one of the finest examples of such repetition being the well-known work at ,montagu ,house by ,mrs4 ,ross1 a portrait of the ,duke of ,monmouth1 but there is no example known to us of an eighteenth-century painter copying the work of ,cooper with the exception or this one1 if ,walpole's statement is correct4 ,another curious circumstance about the inscription is that ,walpole has made an error in the name4 ,it was not ,charles but ,thomas ,lyttelton who married ,christian ,temple4 ,she was the daughter of ,sir ,richard ,temple of ,stowe1 and the heir of ,viscount ,cobham2 thus it was through her that the ,viscounty and ,barony of ,cobham came to the family4 ,as we have already written very fully in another place1 we are quite unable to accept the series of unfinished miniatures at the ,victoria and ,albert ,museum as being the work of ,cooper4 ,there is no external evidence whatever in favour of the tradition4 ,they are painted on a very smooth cardboard1 quite a different material to that used by ,cooper1 and on the back of one of the portraits is an inscription in the same handwriting as is the one on the copy by ,mrs4 ,ross at ,montagu ,house1 and apparently signed by the same person4 ,it is quite possible that in the collection the portrait of ,lord ,brooke 7which was not contained in the pocket-book when the original purchase was made7 may be a genuine work by ,cooper1 very likely acquired by ,mrs4 ,ross1 as a guide for her own work1 but all the other portraits are1 we are convinced1 the work of this clever copyist1 and must not be attributed to the master himself4 ,in the course of our investigations concerning a missing portrait by ,cooper1 representing the ,countess of ,exeter1 we came upon two interesting letters in the ,duke of ,rutland's collection at ,belvoir ,castle1 which proved that this portrait was never finished4 ,on the #ith ,april1 #afgb1 ,mr4 ,charles ,manners wrote to ,lord ,roos in the following terms3--,i haesten on ,mr4 ,cooper all ,i can to the finishing of my ,lady ,exester's picture1 and hee will surely doe it1 ,god willing2 but at the present the ,king and the ,duke have put severall things into his hands which take him off from all else4 ,then again1 on the #dth ,may1 ,mr4 ,manners wrote again to ,lord ,roos respecting the same portrait1 and he then stated that although ,mr4 ,cooper had promised with all imaginable respect and kindeness to finish it out of hand1 and actually begun it1 he just then fell dangerously sicke1 and confyned to his bed1 and ,i very much feare hee cannot possibly outlive three days4 ,as a matter of fact1 ,cooper did not live a day after this letter had been sent1 for from ,mary ,beale's diary we have the information that he died on the #eth ,may1 the diarist writing as follows3--,sunday1 ,may #eth1 #afgb1 ,mr4 ,samuel ,cooper1 the most famous limner of the world for a face1 dyed4 ,the two letters from which these quotations are taken are to be found in facsimile in the catalogue of ,mr4 ,pierpont ,morgan's collection of miniatures4 ,other odd facts concerning this great painter we learn from ,pepys and certain contemporary records4 ,we know that he was an excellent musician1 playing well on the lute1 and a clever linguist1 speaking ,french with ease4 ,he resided in ,henrietta ,street1 ,covent ,garden1 and frequented the ,covent ,garden coffee-house2 he was a short1 stout man of a ruddy countenance1 was married and had one daughter4 ,the ,duke of ,portland's collection at ,welbeck contains the portrait of his wife ,christina1 and in another collection there is a portrait of his daughter1 both fine paintings by the master himself4 ,christina ,cooper was a ,miss ,turner1 and her other sister1 ,edith1 married the father of ,alexander ,pope4 ,mrs4 ,cooper was ,pope's godmother and taught him his letters1 and to her godson she bequeathed a painted china dish with a silver pot and a dish to set it in1 as well as the reversion of her books1 pictures and medals1 with ,samuel ,cooper's grinding stone and muller1 and some of his portrait sketches4 ,it is not quite certain that ,cooper was born in ,england2 we know the date of his birth1 #afji1 but we have no certain evidence that he was an ,englishman by birth1 although there is every probability that this was the case4 ,he was1 however1 for a while in ,france1 and he was certainly in ,holland1 and possibly in ,sweden also1 where his brother1 ,alexander ,cooper1 also spent some time4 ,it was in ,sweden that we were able to discover a good deal of information respecting ,alexander ,cooper1 and notably a statement concerning his account for certain royal portraits in his own handwriting4 ,samuel ,cooper's appearance is known to us by the portraits in the ,victoria and ,albert ,museum1 but an even more interesting sketch of him is in the ,pierpont ,morgan collection1 painted in sepia1 on a piece of paper which has been twice folded4 ,an inscription1 which we believe to be in his own handwriting1 is at the back of a portrait at ,welbeck ,abbey1 and is to the effect that the picture in question1 and one or two previous ones1 were done for a ,mr4 ,graham1 but had not been paid for at the time the artist was writing4 ,there is hardly a miniature by this eminent man which is not worth careful consideration1 and in the power of delineating character and setting before us the actual feelings of his sitters1 ,cooper had no rival1 while one of the great features of his work is its amazing variety4 ,moreover1 the manner in which he adapted his technique1 his colour scheme1 and his ideas of composition to the special circumstances of the person whom he had to delineate1 is very remarkable4 ,his portraits of men are perhaps more attractive than those of women1 although he was well able to convey the fascination of a woman's face2 but the strong1 rugged men of his period were portrayed by him with quite extraordinary power1 and he created a method of portraiture entirely his own1 and filled it with individual characteristics4 ,two splendid examples are amongst our illustrations in colour 7,plate ,,viii471 ,lady ,fauconberg and ,colonel ,lilburne1 both from the collection of ,mr4 ,hodgkins4 ,of his contemporaries it will suffice to mention one or two1 and perhaps the best of them was ,david des ,granges1 whose work is represented in our illustrations in colour by a portrait of ,rachel ,fane1 ,countess of ,bath1 from the collection of ,mr4 ,hodgkins 7,plate ,,ix41 ,no4 #b74 ,of this artist and his parentage we know a little1 thanks to the researches of ,mr4 ,lionel ,cust in the registers of the ,huguenot ,church in ,london4 ,it seems probable that ,des ,granges1 although baptised in the ,huguenot faith1 did not continue in that communion1 because in #afdi he is mentioned in some papers belonging to the ,french ,dominicans as a ,catholic1 and he was a very close friend of the celebrated artist ,inigo ,jones1 who was also a ,catholic4 ,the portrait of the architect by ,david des ,granges1 representing ,inigo ,jones at the age of #fh1 is at ,welbeck ,abbey1 signed with the initials ,d4,d4,g41 and is one of the best works by him with which we are acquainted4 ,for the works of ,faithorne or ,loggan1 ,flatman or ,lens1 we must refer our readers to more elaborate books on miniature painting1 and hasten forward towards the eighteenth century4 ,before we do so1 however1 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 subject4 ,it is a portrait which has been bequeathed through various owners as a likeness of ,john ,milton 7,plate ,x471 and there is a good deal of evidence to support this very interesting attribution4 ,it came from the ,woodcock family1 who state that it has been handed down in direct succession from ,catherine ,woodcock1 whom ,milton married as his second wife on the #abth of ,november #afef4 ,she was the daughter of a ,captain ,woodcock1 of ,hackney1 and the former owners of the miniature stated that their family home was in ,hackney4 ,mrs4 ,milton had a baby girl on ,october #aith1 #afeg1 and she and her child died in ,february #afeh1 when the miniature was given to her niece1 who is stated to have been present at the confinement1 and from her it came to its late owners1 who only parted with it when actually compelled so to do4 ,it therefore belonged to the ,mrs4 ,milton who is immortalised by the poet in his twenty-third sonnet1 where he speaks of her as ,my late espousd saint1 ,brought to me like ,alcestis from the grave1 ,and adds 444 once more ,i trust to have ,full sight of her in ,heaven without restraint4 ,he says she ,came vested all in white1 pure as her mind ,her face was veiled2 yet to my fancied sight ,love1 sweetness1 goodness1 in her person shined ,so clear1 as in no face with more delight4 ,but1 oh6 as to embrace me she inclined1 ,i waked1 she fled1 and day brought back my night4 ,if1 as seems most probable1 the attribution of this portrait is correct1 it gives us a view of ,milton at a period of his life of which we have no other portrait1 for it must have been painted when he ,was about #dh1 and it bears out ,aubrey's remarks about him1 in which he speaks of his reddish hair1 of his exceeding fayre complexion1 of his oval face1 and tells us that he was a spare man4 ,apparently it was never engraved1 and ,deborah ,milton seems to have known nothing about it1 but as she was quite a child when her father's second wife died1 and as the portrait passed away from the ,milton family so quickly1 it is very natural that we should have no other record of it than the miniature itself4 ,we now come to the eighteenth century1 and without referring in detail to the men who preceded the foundation of the ,royal ,academy1 would just mention one of the prominent miniature painters of the early days of the century1 ,christian ,richter by name4 ,he was the son of a ,swedish silversmith who came to ,england in the time of ,queen ,anne1 and settled down with his brother1 who was a medallist and a die-sinker4 ,his work is luminous and distinguished1 marked by rather an excessive brilliance of red in the carnations1 but by a very handsome colour scheme as a rule2 the example we give in our colour plates1 the portrait of ,prince ,george of ,denmark1 the consort of ,queen ,anne 7,plate ,,xi47 from the ,hodgkins collection1 setting forth his characteristics in a satisfactory fashion4 ,the catalogues of the ,royal ,academy are full of the names of miniature painters4 ,the period of its foundation was prolific in the number of limners it produced4 ,miniature painting was the fashion4 ,there were half-a-dozen important painters1 and two or three hundred lesser men4 ,the greater men stand out distinctly4 ,of the lesser men1 many are only names to us4 ,here and there we have scraps of information respecting their history1 details concerning the place where they resided1 a few dates1 and now and again an inscription on the back of a miniature to guide us2 but of the vast majority of those who exhibited at the early exhibitions we know little1 and of many of them it is not necessary that we should know very much1 as their work was neither especially remarkable1 nor especially praiseworthy4 ,in considering this period1 however1 one comment must be made4 ,as a rule1 each painter was individual and characteristic4 ,he allowed the personal equation to take an important part in his work1 and when the expert is once familiar with the characteristics of the painter1 his miniatures can be found quite readily whether signed or not4 ,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 art1 but who in many cases have become mere copyists1 and have not allowed personal characteristics to distinguish their work4 ,with the names of the great painters many are familiar1 ,cosway1 ,plimer1 ,smart1 ,ozias ,humphry1 ,engleheart1 ,edridge1 and ,grimaldi are all well known1 and the collector is more or less familiar with the names of a few of the minor painters whose works are worth collecting1 as1 for example1 ,nathaniel and ,horace ,hone1 ,vaslet1 and others4 ,there is neither opportunity nor need1 in an essay of this sort1 to refer to them in detail1 because we are not concerned here with anything more than a broad survey of the miniature art1 and must not confine our attention to ,england only4 ,the painters of the eighteenth-century offer a sharp contrast to those of the seventeenth1 and comparison only makes the contrast the more evident4 ,in the work of ,cooper we have strength1 power1 dignity2 in that of ,cosway and of the artists of his period is refinement1 dexterity1 fascination1 a spice of flippancy and at times a certain meretricious quality1 but this latter is far less seen in ,cosway himself than in the work of his followers and admirers4 ,the public demanded something quite different from the artists of the eighteenth century from that which they asked of the earlier school2 the work had to be done more quickly1 and it must be more charming1 sensitive1 and radiant4 ,in his skill for giving his sitters exactly what they wanted1 and in setting forth on the ivory the dainty grace of the women of the eighteenth century1 there was no one who could approach within measurable distance of ,cosway himself2 and there is a marvellous fascination about his exquisite work1 an individuality which belongs exactly to the period and represents it in all its grace1 lightness and flippancy4 ,undoubtedly the nearest in merit to ,cosway was ,andrew ,plimer1 and some of his works are fascinating in their beauty1 but in charm they are never equal to those of ,cosway1 and the peculiar mannerisms of the artist prevent them from being altogether satisfactory4 ,plimer had very little power of composition1 and he invariably over-accentuated the eyes of his sitters1 and constantly repeated a favourite pose either of head or figure1 while the extraordinary wiry manner in which he delineated the hair marks out his work at once4 ,quite as noticeable is his affection for the appearance of his own daughters1 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 sitters4 ,less than most of his contemporaries was he able to break away from a strong personal characteristic2 and eventually it became a species of obsession with him1 so that his female portraits strikingly resemble one another4 ,john ,smart was a painter of a different type1 serious1 solid1 painstaking4 ,his facial modelling is extraordinary in its accuracy1 and his works1 like those of ,engleheart1 appear to have been preferred by the more serious persons in society1 whereas those of ,cosway and ,plimer were particularly appreciated by the gay and frivolous ladies of the ,court circle1 whose sun and centre was the ,prince ,regent4 ,there are miniatures by ,cosway which are of pre-eminent beauty1 so lightly and with such exquisite skill are they floated upon the ivory4 ,the quality of the material had1 of course1 an intimate connection with the art of the painter4 ,the seventeenth-century artists knew nothing of the brilliant surface of ivory1 although it is possible that one at least of them had an inkling that a more luminous material than vellum1 cardboard1 or chicken-skin1 could be found4 ,there are two miniatures in existence1 one of which is in the possession of the author of these pages1 the work of ,cooper1 which are not painted on any of the materials usually adopted by him4 ,this latter is painted on what was at first thought to be a piece of ivory1 but microscopic investigation has revealed the fact that it is polished mutton-bone1 and the painter has so altered his technique to adapt it to this curious experiment1 that for the first moment one would hardly believe the miniature to be by ,cooper at all4 ,its pedigree is1 however1 unassailable1 and a closer investigation reveals many of the master's characteristics1 but it is painted with a very fine brush1 quite different to the usual broad1 full sweep of his work1 and it stands out as an interesting experiment on the part of the great painter1 who was searching for some material more suitable for a particular style of work4 ,ivory was not employed until the time of ,william ,,iii41 and it seems probable that one of the ,lens family was the first to make use of it2 but1 once adopted1 its use became very general1 and in the prolific period of the eighteenth century1 almost universal4 ,cosway is said to have experimented in enamel1 and certainly one enamel portrait1 with his initials1 is in existence4 ,he drew very skilfully on paper1 and a few of his miniatures are on that material4 ,one of his works1 signed and dated1 is on silk1 but all these were only experiments1 and the greater number of his miniatures are on ivory1 which material lends itself perfectly to his craft4 ,in our opinion the finest miniature ,cosway ever produced was his unfinished sketch of ,madame du ,barry1 one of the greatest treasures of ,mr4 ,pierpont ,morgan's collection1 and by his kind permission illustrated here in monotone 7,plate ,,xii474 ,it was painted in #agia on the occasion when ,madame du ,barry came over to ,england to recover her jewels1 and on her third visit to this country in that year4 ,from this portrait a stipple engraving was made by ,cond in #agid1 but the miniature itself came into the possession of the ,vernons1 having belonged to a ,miss ,caroline ,vernon who was maid of honour to ,queen ,charlotte4 ,it was sold in ,london in #aijb1 when it passed to its present owner1 and in grace1 sweetness1 and fascination1 is unrivalled1 even amongst his wonderful treasures4 ,another delightful portrait from the same collection represents the oft-painted ,henrietta1 ,lady ,duncannon1 who was afterwards ,countess of ,bessborough 7,plate ,,xiv41 ,no4 #b74 ,she was sister to ,georgiana1 ,duchess of ,devonshire1 and seems to have spent a great deal of her time in sitting for her portrait1 all the artists of the day having painted her4 ,this miniature is remarkable for the fact that it still remains in its original frame1 a very magnificent one1 richly set with superb diamonds4 ,yet another charming portrait by ,cosway 7,plate ,,xiv41 ,no4 #a7 came from the ,truro collection to ,mr4 ,morgan4 ,it represents ,lady ,augusta ,murray1 the daughter of ,lord ,dunmore1 who became the wife of the ,duke of ,sussex1 the #fth son of ,george ,,iii4 ,it was her marriage which1 although twice performed1 in ,rome and at ,st4 ,george's1 ,hanover ,square1 was declared null and void under the ,royal ,marriage ,act 7#ab ,geo4 ,,iii4 cap4 #aa74 ,her daughter was ,lady ,truro4 ,lady ,augusta was only painted twice1 and on both occasions by ,cosway4 ,our coloured illustrations include three portraits of women by ,cosway1 ,viscountess ,st4 ,asaph 7,plate ,,xiii471 the ,countess of ,rochford 7,plate ,,xv47 and ,princess ,charlotte 7,plate ,,xvi471 all of them distinguished by ,cosway's special method of painting the hair1 and marked by that inimitable grace in which he excelled4 ,we also illustrate from ,lord ,hothfield's collection one of ,cosway's more serious portraits of men1 ,the ,earl of ,thanet 7,plate ,,xvii471 set upon the usual blue cloudy background1 in this instance a trifle paler than usual1 and painted with convincing force in a very remarkable colour scheme4 ,of the work of the more sedate painters1 ,smart and ,engleheart1 we are able to give many characteristic examples4 ,from ,lord ,hothfield's collection come a splendid pair--,mr4 and ,mrs4 ,percival 7,plate ,,xix471 painted with that striking force which marks the best work of ,smart1 upon his usual greenish-grey background1 and with very subtle but well-marked modelling in the features4 ,his carnations were ever a little brick-dusty in tint1 and he delighted in the ruddier tones of the face1 but in depicting the shadows he had few rivals4 ,although there may be perhaps a certain want of inspiration in his somewhat quaker-like method of work1 and in the very low tone of his colouring1 yet there is an honesty and a straightforward quality about it which is very attractive1 and perhaps that was the reason why ,cosway in the words of praise he gave to a painter so different from himself1 spoke of him as honest ,john ,smart4 ,engleheart's work has a certain resemblance to that of ,reynolds1 and the devotion which ,engleheart felt towards the ,president of the ,academy had an evidently strong effect upon his own art4 ,he copied ,sir ,joshua's works over and over again1 and gradually a good deal of the influence of the great master permeated the work of his follower4 ,his miniatures were nobler1 broader1 and far better set upon the oval of the ivory than were those of many of his contemporaries1 his draughtsmanship was excellent1 and there was a brilliance about his painting of the eyes which is particularly attractive4 ,the large portrait of ,earl ,beauchamp 7,plate ,,xx471 from the collection of ,lady ,maria ,ponsonby1 is a fine specimen of his best work2 but those of ,mrs4 ,sainthill and ,mr4 ,brundish1 from the collection of ,lord ,hothfield 7,plate ,,xxii471 are good examples of his smaller miniatures1 possessing a great deal of charm and delightful in colour4 ,his portrait of ,miss ,mary ,berry1 from ,mr4 ,pierpont ,morgan's collection 7,plate ,,xxi471 is quite one of his finest portraits of women4 ,he painted both these sisters1 and for a long time the two portraits were in one case1 facing one another1 but they have now been separated1 and lie side by side in the cabinet4 ,the two ladies were well known as being the close friends of ,horace ,walpole1 who treated them with the greatest tenderness and affection1 addressed to them many of his most brilliant letters1 and persuaded them to settle down near him at ,strawberry ,hill4 ,to them he dedicated his catalogue of treasures1 and bequeathed a considerable sum of money1 and his works and letters were1 after his death1 edited by ,mary ,berry1 one of the sisters1 who lived down till #aheb1 and died at the advanced age of ninety4 ,from the same collection we have selected two delightful works by ,smart1 those representing ,sir ,charles ,oakeley and a lady whose name is unknown 7,plate ,,xviii471 both distinguished by the elaboration of flesh tints1 so quietly and so accurately applied4 ,the very brilliant1 if somewhat flashy1 work of ,andrew ,plimer is particularly well represented in ,mr4 ,pierpont ,morgan's famous collection1 because it includes the notable series representing ,rebecca1 ,lady ,northwick1 and her three daughters1 all of which are given in our monotone illustrations 7,plates ,,xxiii4 and ,,xxiv474 ,plimer was an adept at flattery1 and in this particular case the mother looks hardly older than her daughters1 and the three girls are so much alike that one has to look exceedingly closely to notice the position of the band round the head1 or of the curl which falls upon the neck1 before one girl can be distinguished from another4 ,the same unfortunate mannerism belonging to this clever painter can be seen in ,the ,three ,sisters ,ellis1 brilliant works by ,andrew ,plimer from the collection of ,lord ,hothfield1 and here illustrated in colour 7,plate ,,xxv474 ,when closely regarded it is quite evident that the three girls are very different from one another1 but at the first glance we almost wonder how their parents could have known them apart4 ,the painter himself has been led to make little changes in their costume in order that each girl's identity should be preserved1 and our remark respecting the exaggeration of the eyes is exemplified in these three very beautiful portraits4 ,by the same painter is the charming representation of ,selina ,plimer1 the artist's youngest child1 from the collection of the writer of this essay 7,plate ,,xxvi474 ,this miniature came from ,plimer's own portfolio1 and bears his handwriting upon it4 ,it is very graceful and light in its treatment4 ,the ,rushout girls form the subject of the largest painting ever executed by ,plimer4 ,his well-known group showing these three girls in one miniature now belongs to ,mr4 ,george ,j4 ,gould1 and is fully described in the life of ,andrew ,plimer4 ,in ,lord ,hothfield's collection1 however1 is an interesting sketch 7,plate ,,xxvii471 a group of the three sisters1 evidently his first idea1 quite different both in composition and in execution to the finished picture4 ,it came from ,plimer's studio1 is unmistakably his work1 and particularly interesting as a fresh and original idea1 even more charming in many ways than the finished picture4 ,in the latter1 the girls dress their hair quite differently to what they had it in the sketch1 and very possibly the esquisse was made on their first visit to the studio1 as they stood together that the artist might get an idea of how they looked4 ,another example of ,plimer's work illustrated here in colour is from the same collection1 and represents ,mrs4 ,bailey 7,plate ,,xxviii474 ,it is a pleasing picture1 though the curious wiriness of hair to which we have drawn attention is very noticeable in it4 ,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 7,plate ,,xxix41 ,no4 #a74 ,it represents ,sir ,charles ,kent as a ,boy1 playing upon a drum1 and is a bright1 piquant little picture4 ,nathaniel ,plimer's work is rarer than that of his brother1 and we know very little indeed of the history of the artist4 ,he was a curiously unequal painter4 ,there were times when he could paint far better than his brother1 but there are not perhaps more than two or three of his miniatures to which this high praise can be given4 ,his general work is pleasing and agreeable1 but does not betoken extraordinary skill4 ,one of the best of his ordinary miniatures is in ,lord ,hothfield's collection 7,plate ,,xxix41 ,no4 #b71 and represents ,mrs4 ,dawes4 ,it is dated #agih1 and is quite a fine picture1 but not equal in high merit to two works by this master in the late ,mr4 ,salting's collection1 the finest examples of ,nathaniel's work we have yet seen4 ,ozias ,humphry was a greater man than ,plimer1 but his work in miniature is rare4 ,his draughtsmanship was exceedingly good1 his colouring quiet and restrained1 and his technique so elaborate1 with such fine stipple work1 that it has a general resemblance to that of enamel1 but differs from this latter because it is not hard in its execution2 and there is1 moreover1 an atmospheric quality about it very attractive4 ,one of ,humphry's peculiarities is to be noticed in the elongated shape he gave to the eyes of his sitters1 what has been well termed a greyhound eye1 affording a marked contrast to the exceedingly round1 over-bold eye1 which ,plimer was so fond of accentuating4 ,humphry drew children exquisitely1 and his portrait of the ,duchess of ,albany as a child 7,plate ,,xxx41 ,no4 #a71 in the possession of ,lord ,hothfield1 is one of the most delightful miniatures with which we are acquainted4 ,in it his accuracy of draughtsmanship is seen to perfection1 and the modelling on the face is so dainty and delicate that the miniature is quite a little gem full of life and vivacity1 while the child is represented with a demure1 amused look1 which is refreshing and natural4 ,there is a very interesting history connected with this miniature4 ,it was painted in ,rome in #aggc1 when ,humphry was there with ,romney1 and it eventually belonged to ,horace ,walpole1 and was in his collection at ,strawberry ,hill4 ,he is said to have received it from ,sir ,horace ,mann1 his great friend and correspondent1 who was watching ,prince ,charles ,edward 7de jure ,charles ,,iii471 on behalf of the ,english ,government4 ,the other ,humphry1 which we illustrate from the same collection1 represents the ,countess of ,thanet 7,plate ,,xxx41 ,no4 #b71 and is an excellent example of the manner in which ,ozias painted a noble lady of a quiet1 studious character4 ,the colour scheme in this1 again1 is very pleasing4 ,time would fail to describe the host of minor men who exhibited at the ,academy1 and it would be impossible to illustrate works by even the chief of them4 ,we have selected just a few2 first1 an example of the work of ,john ,smart the younger1 who is especially well known for his fine pencil work1 and for some wonderful copies from drawings by ,holbein4 ,there are very few of his miniatures in existence2 and the one of ,lieutenant ,lygon 7,plate ,,xxxi471 in the collection of ,lady ,maria ,ponsonby which is signed and dated1 is a good1 natural1 life-like portrait1 well drawn and composed4 ,then we would refer to ,nathaniel ,hone1 who was an interesting person1 and deserves to be remembered because he was the first artist in the eighteenth century to have what we now call a one-man show4 ,there is not a great deal of credit belonging to him for this adventure1 because1 had he not been a very sensitive and passionate man1 and painted a picture which annoyed the ,academy1 the one-man show would never have come off4 ,in a painting called ,the ,conjuror ,hone was considered to have made an attack upon the ,president and upon ,angelica ,kauffman4 ,it was rejected by the ,academy1 and in #agge ,hone opened his exhibition at #gj1 ,st4 ,martin's ,lane1 issued a catalogue1 to which he affixed a preface1 telling the story of his discomfiture from his own point of view1 and appealing to the people respecting the merits of his paintings4 ,the result was not particularly satisfactory1 because it was felt that he had been in the wrong4 ,the catalogue is a very rare one1 and the whole story is rather interesting in its details4 ,a fine portrait by ,horace ,hone1 the elder son of ,nathaniel1 representing ,william ,pitt is in the collection of ,lady ,maria ,ponsonby1 and appears in our coloured illustrations 7,plate ,,xxxii41 ,no4 #b74 ,horace ,hone was a better painter than his father4 ,he excelled in enamel work1 and his finest portraits are in that medium4 ,he had a fine sense of colour and loved rich effects of velvet brocade1 satin1 or fur4 ,another of his miniatures is in ,lord ,hothfield's collection1 and represents ,lady ,mary ,nugent2 it is signed and dated1 and the owner has kindly permitted us to illustrate it in these pages 7,plate ,,xxxii41 ,no4 #a74 ,yet another miniature from ,lord ,hothfield's collection illustrates the work of ,vaslet 7,plate ,,xxxiii471 of whom we know hardly anything1 save that he lived in ,york and ,bath and that he was a clever worker in pastel4 ,he seems to have visited ,oxford in #aggi1 #aghj1 and #aghi1 and there is a good collection of his pastel portraits on paper in the ,warden's ,lodge at ,merton ,college1 the portraits carefully signed and dated2 on the majority of them the artist calls himself as ,l4 ,vaslet of ,bath4 ,there are other collectors in ,oxford who have specimens of his work in pastel1 but in miniature his paintings are very rare4 ,they are distinguished by a cloudy1 flocculent appearance1 very much resembling pastel work1 and making it evident that the artist was more at home in the use of that material than he was in water-colour4 ,our very brief survey of ,english miniature work must end with ,sir ,george ,hayter1 by whom we illustrate a portrait of the ,countess of ,jersey1 from the collection of ,lady ,maria ,ponsonby 7,plate ,,xxxiv474 ,he was portrait painter to ,princess ,charlotte and ,prince ,leopold of ,saxe-,coburg1 but is better known for his historical paintings than for portraits1 and he is almost the last of the nineteenth-century miniature painters whose work possesses any special attraction4 ,after his time and that of his contemporaries ,sir ,william ,ross1 ,j4 ,d4 ,engleheart1 ,robertson1 ,newton1 and ,thorburn1 the art of miniature painting died away until its revival in recent times4 ,the painters who worked in enamel occupy a section of miniature work apart1 although in many instances the best known enamellers painted portraits also on ivory or on vellum1 but they are especially known for their works in enamel4 ,there is little need for us here to do more than define enamel work as a vitreous glaze attached by fusion to a metallic ground1 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 desired4 ,of all the men who were successful in this most complicated process1 ,jean ,petitot stands out supreme1 and his portraits1 as a rule excessively minute in size1 are distinguished by a delicacy of detail1 marvellous in its microscopic exactitude4 ,when it is remembered that the colours were painted on to the panel of gold in the form of a powder1 only slightly mingled with a medium1 that they did not represent by their tint the colour they were to present when fused1 and that the slightest error in the fusing would ruin the plate and cause the colours to run into one another1 the marvel is but enhanced when the exquisite works produced by this incomparable artist are examined4 ,the specimen from ,mr4 ,ward ,usher's collection 7,plate ,,xxxv471 which is illustrated in colour1 is a good example of ,petitot's portrait of ,louis ,,xiv4 ,he painted the face of ,le ,roi ,soleil so often that he must have become familiar with every detail of it1 and there is hardly any collection of his works which cannot boast of one of these wonderful little enamels4 ,the story of the painter himself is of considerable interest1 and the details of his religious difficulties and of his return to ,geneva are well set forth in a book about him written by ,e4 ,stroehlin1 and published in ,geneva in #aije2 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 #aijh4 ,he left behind him a wonderful little pocket-book containing his own and his wife's portraits1 and a narrative of part of his career1 written by him in beautiful handwriting4 ,his own portrait belongs to the ,earl of ,dartrey1 and there are some wonderful examples of his work in the ,louvre2 but the best of his portraits are in ,england1 and there is no collection to rival that of ,south ,kensington in this respect4 ,perhaps his most extraordinary work is the box belonging to ,mr4 ,alfred de ,rothschild1 which has fourteen portraits upon it2 but his largest1 with one exception1 is that of ,mary1 ,duchess of ,richmond and ,lenox1 which we illustrate from ,mr4 ,pierpont ,morgan's collection 7,plate ,,xxxvi41 ,no4 #b74 ,it is signed and dated #afdc and is #e-a_/b inches square1 the only miniature exceeding it in size being that at ,chatsworth1 representing the ,countess of ,southampton1 and dated #afdb4 ,the latter is1 however1 unfortunately damaged1 whereas the one in ,mr4 ,pierpont ,morgan's collection is quite perfect4 ,with these two exceptions1 almost all ,petitot's miniatures are exceedingly tiny in size4 ,the only other enameller whose work we illustrate was named ,prieur1 and he married1 as her second husband1 ,marie1 the only sister of ,jean ,petitot4 ,prieur was a wanderer2 we find his work in ,poland1 ,denmark1 ,russia1 ,spain1 and especially in ,denmark1 where there are many of his portraits1 and where he is believed to have died in #afgg4 ,he visited ,england charged with commissions from the ,king of ,denmark1 and1 while there1 painted a portrait of ,charles ,,ii4 and another of ,lady ,castlemaine1 both from ,cooper's miniatures4 ,he was also responsible for a portrait of ,charles ,i4 7,plate ,,xxxvi41 ,no4 #a71 but whether contemporary or not we cannot say1 for so little is known of ,prieur's history1 that he may have visited ,england before #affi1 when we know he came over to paint ,charles ,,ii4 ,in all probability1 however1 this delightful work1 which now belongs to ,mr4 ,pierpont ,morgan1 is a copy by ,prieur from the portrait of the ,king by ,vandyck4 ,prieur executed several delightful enamel badges for the ,danish ,orders1 and appears to have been in high repute at the courts both of ,frederik ,,iii4 and ,christian ,v4 ,we have now to deal briefly with the long range of foreign miniature painters1 the chief of whom were resident in ,france1 although not always natives of that country4 ,there was a regular tradition of miniature painting in ,france1 extending from the times of the ,clouets down to those of the great painters ,isabey and ,augustin4 ,the works by ,jean ,clouet were1 of course1 more of the nature of paintings in manuscripts1 and if we are accurate in attributing one of the great gems of ,mr4 ,morgan's collection to ,jean ,clouet himself1 it adds one to the only other seven portraits which have been1 with any amount of accuracy1 given to this painter4 ,all of the seven are illustrations in one manuscript volume1 and probably this eighth was either executed for the same purpose1 or has actually been removed from a contemporary work of that kind4 ,when we come to the later ,clouets1 ,franois especially1 we have actual miniatures1 and in several instances the drawings for the portraits exist1 also enabling us to identify whom the miniatures represent4 ,it would be impossible within the limits of this short essay to deal with all those who succeeded the sixteenth-century men1 and we have to make a big jump to the eighteenth century1 because it was during that time that the most notable of the ,french miniature painters flourished1 and their works are by far the most important4 ,nattier began as a miniature painter1 and his mother painted miniatures1 and is said to have taught him his art4 ,later on1 he became a well-known portrait painter1 but speculating in the wild schemes of ,john ,law1 lost his fortune1 and a good many of his friends4 ,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 finance1 then dropped it again1 and confined his attention down to the time of his death to portrait painting4 ,we illustrate a delightful portrait of ,madame ,dupin 7,plate ,,xxxvii41 ,no4 #a71 the wife of a writer on finance1 whose book was suppressed by the order of ,madame de ,pompadour2 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 secretary1 and was very much attached to her4 ,the portrait shows her in the hey-day of beauty4 ,by ,hall1 the ,swede1 who lived in ,paris1 and is generally regarded as a ,frenchman1 we illustrate a portrait of the ,countess ,sophie ,potoki 7,plate ,,xxxvii41 ,no4 #b71 the celebrated ,greek beauty1 who became a member of one of the noblest families of the ,polish aristocracy4 ,her story is a strange one4 ,she was born of ,greek parents at ,constantinople1 purchased as a slave by the ,russian general ,de ,witte1 who made her his mistress2 but one night1 losing a considerable sum of money at cards1 when playing against ,count ,felix ,potoki1 he received an offer from his opponent to waive all claims if the ,russian general would pass over his slave to ,count ,felix4 ,the offer was accepted1 and ,sophie ,clavona became the property of the ,polish ,count1 who was already deeply in love with her4 ,despite the expostulations of his friends1 he promptly made her his second wife1 and they lived happily together for many years1 while her heritage of beauty has been handed down through succeeding generations4 ,her portrait was painted over and over again1 and the example of it which we illustrate remained for a long time in the private gallery of the family at ,warsaw1 together with a replica which is still there4 ,it was finally sold to a ,french dealer1 from whom it passed into the hands of its present owner4 ,the famous beauty is in a deep red costume1 which wonderfully sets off the charm of her countenance4 ,another work by ,hall from the same famous collection 7,plate ,,xxxvii41 ,no4 #c71 represents the ill-fated ,princesse de ,lamballe1 beauty1 goodness and virtue personified1 but all her goodness and gentleness could not soften the hearts of those inhuman tigers who immolated her on the altar of ,equality4 ,few scenes are more pitiable than that of the execution of this beautiful woman4 ,she had never committed any action which could have incurred the hatred of the people1 but she was the friend of the ,queen1 and the possessor of considerable wealth2 reasons enough to bring upon her head the wrath of the tyrants who preached freedom to ,france4 ,this miniature is particularly charming in its domestic quality4 ,madame de ,lamballe is shown in her room1 engaged in making a wreath of flowers1 and every detail concerning her occupation1 and the room in which she is seated1 is delightfully rendered2 but the whole composition is kept so well in hand that the details do not obtrude1 nor in any way draw aside the attention from the fair countenance of the lady herself4 ,the work of ,pierre ,pasquier is very rare1 and not a single example of it is to be seen in the ,louvre4 ,he was born in #agca1 and died in #ahjf4 ,he worked largely in enamel1 and a great many of his portraits appear on the wonderful snuff-boxes which were given to ministers or eminent diplomatists4 ,several of them are in ,russia4 ,he was distinguished by an unerring perfection of draughtsmanship1 and this is especially set forth in his profile portraits1 one of which1 signed and dated1 we illustrate from ,mr4 ,morgan's collection 7,plate ,,xxxviii41 ,no4 #b74 ,it is probably the finest example of ,pasquier's work in existence1 and is little more than a sketch in black on ivory1 with a steel-blue background1 the ivory being left clear where the portrait appears4 ,we do not know who it represents1 but it was probably a study for an enamel left incomplete4 ,it is dated #aghf1 and in its rigid economy of line1 exquisite low-toned scheme of colour1 and perfection of drawing1 occupies an exceedingly high place in miniature painting1 and leaves us only regretful that we are ignorant of the name of the sitter4 ,the example we illustrate of the miniature work of ,fragonard must also be anonymous 7,plate ,,xxxviii41 ,no4 #a74 ,it is a boy's portrait1 and has been said1 with a certain amount of evidence1 to represent one of his own sons1 it certainly does resemble a sketch of one of ,fragonard's children1 which the artist has named1 but not sufficiently for us to be sure respecting the accuracy of the attribution4 ,no one1 however1 but ,fragonard could have painted it1 the colour is so daintily placed upon the ivory as to give the effect of having been wafted upon the material1 and resting upon it with a feathery lightness4 ,there is generally a good deal of yellow in ,fragonard's portraits1 or else the colour scheme is mainly grey and white1 and this portrait belongs to the second division we have mentioned4 ,it is very pleasing1 the face of a quiet1 thoughtful child1 charmingly represented1 and a good example of the work of one of the greatest decorators ,france ever knew4 ,fragonard's miniatures are rare1 we may add1 very rare1 and probably no one has such a collection of them as is to be found in the cabinets of ,mr4 ,pierpont ,morgan4 ,by ,garriot1 a painter who was born in #ahaa at ,toulouse1 studied at ,madrid1 and painted in ,geneva1 we illustrate from ,mr4 ,pierpont ,morgan's collection a portrait of the ,marquise de ,villette 7,plate ,,xxxix41 ,no4 #b71 better known as ,belle et ,bonne1 who was practically adopted as a daughter by ,voltaire1 and married to the ,marquis de ,villette at midnight1 in ,november #aggg1 in the great man's chapel of ,ferney1 her six uncles being present on the occasion4 ,ferney had belonged to her and her six uncles1 and ,voltaire was the means of reclaiming it from the possession of certain of his neighbours into whose hands it had illegally passed in #agfa4 ,it was in the arms of ,belle et ,bonne that ,voltaire passed away on the #cjth of ,may #aggh1 when he was eighty-four years old4 ,a very interesting miniature from the same collection is the one representing a granddaughter of ,nattier the artist1 painted by ,louis ,sicardi 7,plate ,,xxxix41 ,no4 #a71 one of the best miniaturists of the time of ,louis ,,xvi4 ,sicardi painted for over fifty years1 produced a great many delightful works1 and was responsible for the decoration and portraits that1 set upon gold snuff-boxes1 were such favourite presents at the ,french ,court4 ,the two greatest1 however1 of the painters of the ,french school were ,isabey and ,augustin1 and ,isabey1 who was born in #agfg1 forms a curious link between the eighteenth and the twentieth centuries4 ,he painted ,marie ,antoinette1 ,buonaparte1 the ,king of ,rome1 and the ,empress ,marie ,louise2 he also worked for ,louis ,,xviii41 received high distinctions from ,charles ,x4 and from ,louis ,philippe1 and was appointed ,commander of the ,legion of ,honour by ,napoleon ,,iii43 moreover1 he had a long conversation with the ,empress ,eugnie 7who is still living7 in #ahed1 the year in which he died at the advanced age of eighty-eight4 ,he exhibited between #agic and #ahda1 painting portraits of all the eminent persons in ,france during his long career4 ,of his earlier work we exhibit in colour two charming companion miniatures from the collection of ,mr4 ,ward ,usher1 representing the ,empress ,josephine1 and the ,empress ,marie ,louise 7,plate ,,xl471 while of his later1 somewhat more florid work1 almost invariably distinguished by the presence of a light gauzy scarf which he wound about his sitter1 and which he painted to perfection1 we give two portraits1 one a portrait of ,catherine1 ,countess ,beauchamp1 from the collection of ,lady ,maria ,ponsonby 7,plate ,,xli471 and the other depicting ,frstin ,katharina ,bagration ,shawronska 7,plate ,,xlii471 from the collection of ,frst ,franz ,auersperg4 ,one of the loveliest miniatures ,isabey ever painted is that representing ,queen ,hortense and her son ,napoleon ,,iii41 in the collection of ,mr4 ,j4 ,pierpont ,morgan4 ,it contains autograph information in the ,emperor's handwriting attesting to its history1 and is a lovely example of ,isabey's easy1 graceful1 pleasing work4 ,it is illustrated on ,plate ,,xliii4 ,an interesting feature of some of ,isabey's miniatures is the fact that he worked in conjunction with two ,dutch artists1 the brothers ,van ,spaendonck4 ,they were expert painters of flowers and fruit1 often employed at the ,svres porcelain factories1 one of them being as well a professor of natural history and lecturer on flowers in ,paris1 and the author of one or two books on flowers and flower-painting4 ,there are several examples of the work of ,isabey in which one or other of these brothers has supplied the floral decoration1 or a group of fruit in the background4 ,we now come to ,jean ,baptiste ,jacques ,augustin1 one of the noblest of the miniature painters of ,france4 ,he was born in #agei1 upon the same day1 although separated from him by an interval of ten years1 as that on which the great ,napoleon1 whose portrait ,augustin was afterwards to paint1 came into the world4 ,he came over to ,paris as quite a boy1 and lived in a house in that city to which he returned many years afterwards1 bringing with him a bride1 and where1 as a married man1 he resided for a considerable time4 ,for a while he found life a hard struggle1 but his rare merit soon brought him many clients1 and from about #agij onward until the close of his life1 he seems to have had a succession of sitters1 including all the notabilities of the day4 ,he left behind him a wonderful collection of sketches1 contained in various books1 and a large number of unfinished miniatures4 ,some few years ago the members of the family1 in whose possession this great collection had remained1 desirous of portioning off two of their daughters1 offered the collection for sale4 ,the ,directors of the ,louvre very much desired to purchase it1 as it included many works of great importance1 but the whole collection passed into the hands of ,mr4 ,pierpont ,morgan1 and fills one entire cabinet1 giving a view of this artist's work altogether unrivalled4 ,the illustrations which we give are of ,augustin's later work rather than those of the early years1 although with them is included a brilliant unfinished sketch1 representing ,the ,father of ,madame ,seguin 7,plate ,,xliv41 ,no4 #b74 ,the one from ,mr4 ,ward ,usher's collection represented in colour is a portrait of ,madame ,rcamier 7,plate ,,xlv471 that from ,mr4 ,morgan's collection in monotone1 the famous ,madame de ,boufflers 7,plate ,,xliv41 ,no4 #a71 the friend of ,david ,hume1 who introduced the historian to ,j4 ,j4 ,rousseau1 and is so frequently alluded to in ,horace ,walpole's letters4 ,when she fled from ,france1 ,madame de ,boufflers resided for some time in or near ,london1 and ,walpole spoke of her as the most agreeable and sensible woman he ever saw1 but he was greatly amused at her want of appreciation of his house4 ,she had never seen a printing press until she came to ,strawberry ,hill1 and ,walpole arranged that on the occasion of her visit his private press should print a few lines of ,french poetry in her praise4 ,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 ,house1 and that from ,lord ,onslow ,walpole himself heard the news4 ,of ,e4 ,w4 ,thompson1 an ,englishman1 who spent very much of his time in ,france1 and is regarded by the ,french critics almost as one of themselves1 we know very little1 but the ,princess de ,lieven1 whose portrait he painted 7,plate ,,xliii471 was one of the great ladies of ,europe in the nineteenth century4 ,she was a personal friend of ,count ,metternich and afterwards of ,guizot1 and ,madame de ,lieven kept up a steady correspondence with both these statesmen1 and exercised1 without doubt1 a very considerable influence upon ,european politics4 ,two artists of ,italian parentage deserve mention1 especially as we are able to illustrate1 by the permission of their owner1 ,mr4 ,ward ,usher1 delightfully signed examples of their work4 ,by ,costa we show an interesting portrait of ,marie ,antoinette 7,plate ,,xlvi47 which came from the ,bentinck-,hawkins collection2 and by ,anguissola1 the favourite miniature painter to the court of the great ,napoleon1 we illustrate1 in reduced size1 a fine portrait of the ,emperor's sister1 ,princess ,pauline ,borghese 7,plate ,,xlvii474 ,special attention has been given in our illustrations to the work of the great ,viennese miniature painter ,fger1 because very little is known of his work in ,england1 and there are so few examples of it to be found in ,english collections4 ,the ,viennese collectors seem determined that all the finest works by ,fger shall remain in their own city1 and they are prepared to give high prices in order that they may carry out this desire4 ,one of the chief collectors in ,vienna is ,dr4 ,figdor1 and he has been exceedingly kind in allowing many miniatures from his collection to be illustrated for the purpose of this essay1 amongst them1 five by ,fger1 perhaps a rather large proportion2 but it has been felt that1 as the work of the painter is so little known in ,england1 it was well in our illustrations to err on the right side1 and give several examples of his delightful workmanship4 ,for a long time the details of his life were buried in obscurity1 and all sorts of mistakes were made respecting his work1 which was confused with that of other painters1 and in some instances not recognised at all4 ,it was not until #aije1 when ,herr ,doktor ,ferdinand ,laban published a very important article upon him1 that ,fger's true position was apparent1 and ,dr4 ,laban was able from family records to set right the errors of those writers1 amongst whom we must include ourselves1 who had gone astray from lack of the very material ,dr4 ,laban was able to discover4 ,since then1 ,herr ,eduard ,leisching has added considerably to our information in a splendid book he published on ,austrian miniature painters1 and he has discovered many more examples of ,fger's work1 who can now be justly recognised as the greatest of the ,continental eighteenth-century miniaturists4 ,he has been called the ,viennese ,cosway1 but the work of ,fger has very little affinity with that of our ,english painter4 ,it is far stronger and more severe1 and his more graceful portraits are richer in their colour scheme1 and far more elaborate in their decorative effect than anything ever painted by ,cosway4 ,there are two wonderful miniatures by ,fger in ,mr4 ,pierpont ,morgan's collection1 one representing three sisters1 the ,countesses ,thun-,hohenstein1 and the other ,madame ,rousbaeck1 a lady-in-waiting to the ,empress ,marie ,theresa1 but ,dr4 ,figdor's illustrations set forth in excellent manner both the strength and the charm of this wonderful painter4 ,nothing can be more forcible than the sketch of ,prince ,hohenlohe 7,plate ,,xlviii471 and we realise the power and dignity of the sitter when we regard this marvellous delineation of character4 ,for dainty grace it is difficult to excel the portrait of the anonymous lady 7,plate ,,xlix471 for strength and gracious dignity that of the ,empress ,maria 7,plate ,l471 while the portrait of ,marie ,theresia1 ,countess von ,dietrichstein 7,plate ,,li47 is that of a noble dignified lady of high position1 splendid courage1 and great charm1 and that of ,princess ,anna ,liechtenstein 7,plate ,,lii47 shows us a thoughtful1 learned1 and musical lady1 a portrait very decorative in colour scheme1 and charmingly set upon its oval of ivory4 ,another painter whose work was exceedingly popular in ,vienna1 was ,giovanni ,battista de ,lampi1 an ,italian born near ,trent in #agea1 a man very little known outside the narrow limits of the ,viennese collectors4 ,he was a wanderer for a few years1 painting in ,verona1 and moving on until he reached ,st4 ,petersburg1 but when in #aghc he came to ,vienna1 he was received with open arms1 was welcomed by the court and the nobility to such an extent that practically for the rest of his life he resided either in ,vienna1 or in various towns of ,poland from which he could easily reach the capital itself4 ,it was in ,vienna that he died at the age of eighty1 universally respected and greatly beloved4 ,his wife's portrait is in the gallery at ,innsbrck1 one of three replicas4 ,the original ,lampi retained for himself4 ,his two sons each had replicas1 and the remaining one went to his granddaughter1 the ,baroness ,hell1 who left it to the museum4 ,one of the replicas which came into the possession of his sons is now a great treasure in ,mr4 ,pierpont ,morgan's collection4 ,the portrait from that of ,dr4 ,figdor1 which we illustrate in colour1 represents ,lampi himself 7,plate ,,liii471 and is not only a fine example of the artist's work1 serious1 and almost solemn in its aspect1 but also peculiarly interesting as showing us what the painter himself was like4 ,another ,viennese miniature painter whose work we illustrate is ,moritz ,michael ,daffinger1 who has been called the ,austrian ,isabey1 but these comparisons1 like that applied to ,fger1 are of little significance4 ,what is of special interest with regard to ,daffinger is the fact that he adopted the manner of ,sir ,thomas ,lawrence as his own4 ,lawrence visited ,vienna in #ahad1 and was received with great honour4 ,while there he painted some portraits4 ,daffinger admired his work immensely1 and undoubtedly some of his best miniatures are reminiscent of ,lawrence4 ,especially is this the case with a beautiful girl's portrait from the collection of another ,viennese collector1 ,grfin ,emma ,wilczek-,emo-,capodilista2 and for permission to illustrate this delightful miniature 7,plate ,,liv47 we are particularly grateful1 as it is a charming specimen of the best work of the nineteenth century1 a pleasing portrait1 and very agreeable in its colour scheme4 ,daffinger had many pupils1 and one of them1 ,emanuel ,peter1 exceeded all the rest in skill4 ,we illustrate two clever portraits by him 7,plate ,,lv471 from ,dr4 ,figdor's collection1 in which the ladies are wearing very decorative head-dresses4 ,it is suggested that the two fair sitters were relatives1 probably cousins1 and were painted for some exceptional occasion1 perhaps a masquerade1 as the custom to wear fantastic head-dresses for such special entertainments still prevails in ,vienna4 ,finally we must mention ,ferdinand ,georg ,waldmller1 whose own portrait by himself appears on ,plate ,,lvi4 ,he was one of ,lampi's pupils1 but1 like ,daffinger1 a profound admirer of ,sir ,thomas ,lawrence4 ,his early days were one continual struggle1 and he earned his living by painting bon-bon boxes1 and by giving lessons in drawing in girls' schools1 until his skill was recognised and he had won a position for himself in ,vienna4 ,he even went on the stage in a travelling troupe with his beautiful wife1 who was an actress1 but forced the attention of critics by his splendid portrait studies1 and at length was appointed curator of the ,lamberg ,gallery1 became a popular portrait painter1 and died in #ahfe justly esteemed for his skill and ability4 ,our survey of this fascinating art of the miniature painter has necessarily been brief4 ,there is still a good deal of information to be gathered up concerning the eighteenth-century artists1 and probably some of their descendants possess papers and records of vast interest1 hidden away amongst family treasures4 ,perchance this essay may encourage some of them to make the necessary search1 and so add to the information available on the lives and careers1 especially of our ,english miniature painters4 ,of the earlier men there is not much chance of obtaining new information now1 but there is always a possibility that letters or sketches by such a painter as ,cooper may again come to light1 and if such so fortunate a circumstance were to take place we should delight to learn more of the greatest of our ,british miniature painters1 whose portraits were for so many years ignored in favour of the more brilliant1 but far less important1 works of the painters who exhibited in the early days of the ,royal ,academy4 ,,george ,c4 ,,williamson4 ,,plate ,i ,illustration3 ,,mrs4 ,,pemberton ,,by ,,hans ,,holbein ,,from ,,the ,,collection ,,of ,,mr4 ,j4 ,,pierpont ,,morgan ,,plate ,,ii ,illustration3 ,,queen ,,elizabeth ,,by ,,nicholas ,,hilliard ,,from ,,the ,,cabinet ,,of ,a ,,well-,,known ,,collector ,,plate ,,iii ,illustration3 ,,philip ,,ii41 ,,king ,,of ,,spain ,,by ,,isaac ,,oliver ,,mary1 ,,queen ,,of ,,scots ,,by ,,nicholas ,,hilliard ,,queen ,,anne ,,of ,,denmark ,,by ,,isaac ,,oliver ,,all ,,from ,,the ,,collection ,,of ,,mr4 ,j4 ,,pierpont ,,morgan ,,plate ,,iv ,illustration3 ,a ,,son ,,of ,,sir ,,kenelm ,,digby ,,by ,,isaac ,,oliver 7#afcb7 ,,frederick1 ,,king ,,of ,,bohemia ,,by ,,isaac ,,oliver ,,the ,,queen ,,of ,,bohemia ,,by ,,isaac ,,oliver ,,all ,,from ,,the ,,collection ,,of ,,the ,,rt4 ,,hon4 ,,sir ,,charles ,,dilke1 ,,bart41 ,m4,p4 ,,plate ,v ,illustration3 ,,the ,,duke ,,of ,,buckingham ,,by ,,john ,,hoskins1 ,,the ,,elder ,,from ,,the ,,cabinet ,,of ,a ,,well-,,known ,,collector ,,plate ,,vi ,illustration3 ,,queen ,,henrietta ,,maria ,,by ,,john ,,hoskins1 ,,the ,,elder ,,from ,,the ,,collection ,,of ,,mr4 ,j4 ,,pierpont ,,morgan ,,plate ,,vii ,illustration3 ,,charles ,,ii ,,by ,,samuel ,,cooper ,,john1 ,,earl ,,of ,,loudoun 7#aeih-affb7 ,,by ,,samuel ,,cooper ,,both ,,from ,,the ,,collection ,,of ,,mr4 ,j4 ,,pierpont ,,morgan ,,plate ,,viii ,illustration3 ,,colonel ,,lilburne 7#afah-afeg7 ,,by ,,samuel ,,cooper ,,viscountess ,,fauconberg1 ,,daughter ,,of ,,oliver ,,cromwell ,,by ,,samuel ,,cooper ,,both ,,from ,,the ,,collection ,,of ,,mr4 ,e4 ,m4 ,,hodgkins ,,plate ,,ix ,illustration3 ,,miss ,,christian ,,temple ,,by ,,or ,,after ,,samuel ,,cooper ,,from ,,the ,,collection ,,of ,,the ,,rt4 ,,hon4 ,,sir ,,charles ,,dilke1 ,,bart41 ,m4,p4 ,,rachel ,,fane1 ,,countess ,,of ,,bath ,,and ,,later ,,of ,,middlesex 7#afab-afhj7 ,,by ,,david ,,des ,,granges ,,from ,,the ,,collection ,,of ,,mr4 ,e4 ,m4 ,,hodgkins ,,plate ,x ,illustration3 ,,john ,,milton ,,artist ,,unknown ,,from ,,the ,,collection ,,of ,,dr4 ,g4 ,c4 ,,williamson ,,plate ,,xi ,illustration3 ,,george1 ,,prince ,,of ,,denmark ,,by ,,christian ,,richter ,,from ,,the ,,collection ,,of ,,mr4 ,e4 ,m4 ,,hodgkins ,,plate ,,xii ,illustration3 ,,madame ,,du ,,barry 7#agdf-agic7 ,,by ,,richard ,,cosway1 ,r4,a4 ,,from ,,the ,,collection ,,of ,,mr4 ,j4 ,,pierpont ,,morgan ,,plate ,,xiii ,illustration3 ,,viscountess ,,st4 ,,asaph 7,n,e ,,lady ,,charlotte ,,percy7 ,,second ,,wife ,,of ,,george1 ,,viscount ,,st4 ,,asaph1 ,,afterwards ,,third ,,earl ,,of ,,ashburnham ,,by ,,richard ,,cosway1 ,r4,a4 ,,from ,,the ,,collection ,,of ,,lord ,,hothfield ,,plate ,,xiv ,illustration3 ,,lady ,,augusta ,,murray ,,wife ,,of ,,the ,,duke ,,of ,,sussex ,,by ,,richard ,,cosway1 ,r4,a4 ,,henrietta1 ,,lady ,,duncannon ,,afterwards ,,countess ,,of ,,bessborough 7,os4 #ahba7 ,,by ,,richard ,,cosway1 ,r4,a4 ,,both ,,from ,,the ,,collection ,,of ,,mr4 ,j4 ,,pierpont ,,morgan ,,plate ,,xv ,illustration3 ,,lucy1 ,,wife ,,of ,,william ,h4 ,,nassau1 ,,fourth ,,earl ,,of ,,rochford ,,by ,,richard ,,cosway1 ,r4,a4 ,,from ,,the ,,collection ,,of ,,lord ,,hothfield ,,plate ,,xvi ,illustration3 ,h4,r4,h4 ,,princess ,,charlotte ,,of ,,wales 7#agif-ahag7 ,,by ,,richard ,,cosway1 ,r4,a4 ,,from ,,the ,,collection ,,of ,,lord ,,hothfield ,,plate ,,xvii ,illustration3 ,,henry ,,tufton1 ,,eleventh ,,and ,,last ,,earl ,,of ,,thanet 7#agge-ahdi7 ,,by ,,richard ,,cosway1 ,r4,a4 ,,from ,,the ,,collection ,,of ,,lord ,,hothfield ,,plate ,,xviii ,illustration3 ,,sir ,,charles ,,oakeley 7#agea-ahbf7 ,,by ,,john ,,smart ,,portrait ,,of ,a ,,lady 7,,name ,,unknown7 ,,by ,,john ,,smart ,,both ,,from ,,the ,,collection ,,of ,,mr4 ,j4 ,,pierpont ,,morgan ,,plate ,,xix ,illustration3 ,,the ,,hon4 ,,edward ,,percival1 ,,second ,,son ,,of ,,john1 ,,second ,,earl ,,of ,,egmont 7#agdd-ahbd7 ,,by ,,john ,,smart 7#ahja7 ,,the ,,hon4 ,,mrs4 ,,edward ,,percival ,,by ,,john ,,smart ,,both ,,from ,,the ,,collection ,,of ,,lord ,,hothfield ,,plate ,,xx ,illustration3 ,,earl ,,beauchamp ,,by ,,george ,,engleheart 7#ahje7 ,,from ,,the ,,collection ,,of ,,lady ,,maria ,,ponsonby ,,plate ,,xxi ,illustration3 ,,miss ,,mary ,,berry ,,by ,,george ,,engleheart ,,from ,,the ,,collection ,,of ,,mr4 ,j4 ,,pierpont ,,morgan ,,plate ,,xxii ,illustration3 ,,mrs4 ,,sainthill ,,by ,,george ,,engleheart ,,john ,,jelliard ,,brundish1 ,m4,a4 ,,smith ,,prizeman ,,and ,,senior ,,wrangler ,,in #aggc ,,by ,,george ,,engleheart ,,both ,,from ,,the ,,collection ,,of ,,lord ,,hothfield ,,plate ,,xxiii ,illustration3 ,,rebecca1 ,,lady ,,northwick 7,ob4 #ahah7 ,,by ,,andrew ,,plimer ,,from ,,the ,,collection ,,of ,,mr4 ,j4 ,,pierpont ,,morgan ,,plate ,,xxiv ,illustration3 ,,the ,,hon4 ,,harriet ,,rushout 7,ob4 #ahea7 ,,by ,,andrew ,,plimer ,,the ,,hon4 ,,anne ,,rushout 7,ob4 #ahdi7 ,,by ,,andrew ,,plimer ,,the ,,hon4 ,,elizabeth ,,rushout 7,ob4 #ahfb7 ,,by ,,andrew ,,plimer ,,all ,,from ,,the ,,collection ,,of ,,mr4 ,j4 ,,pierpont ,,morgan ,,plate ,,xxv ,illustration3 ,,elizabeth1 ,,margaret ,,caroline ,,and ,,antoinette1 ,,daughters ,,of ,,john ,,ellis1 ,,esq4 ,,of ,,hurlingham1 ,,middlesex ,,and ,,jamaica ,,by ,,andrew ,,plimer ,,all ,,from ,,the ,,collection ,,of ,,lord ,,hothfield ,,plate ,,xxvi ,illustration3 ,,selina ,,plimer ,,by ,,andrew ,,plimer ,,from ,,the ,,collection ,,of ,,dr4 ,g4 ,c4 ,,williamson ,,plate ,,xxvii ,illustration3 ,,the ,,sisters ,,rushout ,,by ,,andrew ,,plimer ,,from ,,the ,,collection ,,of ,,lord ,,hothfield ,,plate ,,xxviii ,illustration3 ,,mrs4 ,,bailey1 ,,wife ,,of ,,lieutenant ,,bailey1 ,,who ,,was ,,present ,,at ,,the ,,storming ,,of ,,seringapatam ,,in #agii ,,by ,,andrew ,,plimer ,,from ,,the ,,collection ,,of ,,lord ,,hothfield ,,plate ,,xxix ,illustration3 ,,sir ,,charles ,,kent1 ,,bart41 ,,as ,a ,,child ,,by ,,andrew ,,plimer 7#aghf7 ,,from ,,the ,,collection ,,of ,,lady ,,maria ,,ponsonby ,,mrs4 ,,dawes ,,by ,,nathaniel ,,plimer 7#agih7 ,,from ,,the ,,collection ,,of ,,lord ,,hothfield ,,plate ,,xxx ,illustration3 ,,charlotte1 ,,duchess ,,of ,,albany1 ,,daughter ,,of ,,charles ,,edward ,,stuart ,,by ,,clementina1 ,,tenth ,,daughter ,,of ,,john ,,walkenshaw 7#agec-aghi7 ,,by ,,ozias ,,humphry ,,mary1 ,,wife ,,of ,,the ,,eighth ,,earl ,,of ,,thanet 7,ob4 #aggh7 ,,by ,,ozias ,,humphry ,,both ,,from ,,the ,,collection ,,of ,,lord ,,hothfield ,,plate ,,xxxi ,illustration3 ,,lieutenant ,,lygon ,,by ,,john ,,smart1 ,,jun4 7#ahjc7 ,,from ,,the ,,collection ,,of ,,lady ,,maria ,,ponsonby ,,plate ,,xxxii ,illustration3 ,,lady ,,mary ,,elizabeth ,,nugent1 ,,afterwards ,,marchioness ,,of ,,buckingham1 ,,and ,,in ,,her ,,own ,,right1 ,,baroness ,,nugent 7,ob4 #ahab7 ,,by ,,horace ,,hone ,,from ,,the ,,collection ,,of ,,lord ,,hothfield ,illustration3 ,,the ,,rt4 ,,hon4 ,,william ,,pitt ,,by ,,horace ,,hone ,,from ,,the ,,collection ,,of ,,lady ,,maria ,,ponsonby ,,plate ,,xxxiii ,illustration3 ,,miss ,,vincent ,,by ,,vaslet ,,of ,,bath ,,from ,,the ,,collection ,,of ,,lord ,,hothfield ,,plate ,,xxxiv ,illustration3 ,,the ,,countess ,,of ,,jersey ,,by ,,sir ,,george ,,hayter 7#ahai7 ,,from ,,the ,,collection ,,of ,,lady ,,maria ,,ponsonby ,,plate ,,xxxv ,illustration3 ,,louis ,,xiv ,,by ,,jean ,,petitot1 ,,the ,,elder ,,from ,,the ,,collection ,,of ,,mr4 ,j4 ,,ward ,,usher ,,plate ,,xxxvi ,illustration3 ,,charles ,i4 ,,by ,p4 ,,prieur ,,mary1 ,,duchess ,,of ,,richmond ,,and ,,lenox 7#afbc-afhe7 ,,by ,,jean ,,petitot ,,the ,,elder 7#afdc7 ,,both ,,from ,,the ,,collection ,,of ,,mr4 ,j4 ,,pierpont ,,morgan ,,plate ,,xxxvii ,illustration3 ,,madame ,,dupin 7,ob4 #agii7 ,,by ,,jean ,,marc ,,nattier ,,the ,,countess ,,sophie ,,potocki 7,ob4 #ahbb7 ,,by ,p4 ,a4 ,,hall ,,la ,,princesse ,,de ,,lamballe 7,ob4 #agib7 ,,by ,p4 ,a4 ,,hall ,,all ,,from ,,the ,,collection ,,of ,,mr4 ,j4 ,,pierpont ,,morgan ,,plate ,,xxxviii ,illustration3 ,,portrait ,,of ,a ,,boy 7,,name ,,unknown7 ,,by ,,jean ,,honor ,,fragonard ,,portrait ,,of ,a ,,lady 7,,name ,,unknown7 ,,by ,,pierre ,,pasquier 7#aghf7 ,,both ,,from ,,the ,,collection ,,of ,,mr4 ,j4 ,,pierpont ,,morgan ,,plate ,,xxxix ,illustration3 ,a ,,grand-,,daughter ,,of ,,nattier1 ,,the ,,artist ,,by ,,louis ,,sicardi ,,la ,,marquise ,,de ,,villette 7,,belle ,,et ,,bonne7 ,,by ,,garriot ,,both ,,from ,,the ,,collection ,,of ,,mr4 ,j4 ,,pierpont ,,morgan ,,plate ,,xl ,illustration3 ,,the ,,empress ,,josephine ,,by ,,jean ,,baptiste ,,isabey ,,the ,,empress ,,marie ,,louise ,,by ,,jean ,,baptiste ,,isabey ,,both ,,from ,,the ,,collection ,,of ,,mr4 ,j4 ,,ward ,,usher ,,plate ,,xli ,illustration3 ,,catharine1 ,,countess ,,beauchamp ,,by ,,jean ,,baptiste ,,isabey ,,from ,,the ,,collection ,,of ,,lady ,,maria ,,ponsonby ,,plate ,,xlii ,illustration3 ,f,,rstin ,,katharina ,,bagration ,,skawronska ,,by ,,jean ,,baptiste ,,isabey 7#ahab7 ,,from ,,the ,,collection ,,of ,f,,rst ,,franz ,,auersperg ,,plate ,,xliii ,illustration3 ,,la ,,princesse ,,de ,,lieven 7,n,e ,,dorothy ,,benckendorff7 7#aghd-aheg7 ,,by ,e4 ,w4 ,,thompson ,,queen ,,hortense ,,and ,,her ,,son1 ,,afterwards ,,napoleon ,,iii 7#ahjh-ahgc7 ,,by ,,jean ,,baptiste ,,isabey ,,both ,,from ,,the ,,collection ,,of ,,mr4 ,j4 ,,pierpont ,,morgan ,,plate ,,xliv ,illustration3 ,,madame ,,de ,,boufflers 7#agbe-ahjj7 ,,by ,j4 ,b4 ,,jacques ,,augustin ,,the ,,father ,,of ,,madame ,,seguin ,,by ,j4 ,b4 ,,jacques ,,augustin ,,both ,,from ,,the ,,collection ,,of ,,mr4 ,j ,,pierpont ,,morgan ,,plate ,,xlv ,illustration3 ,,madame ,r,,camier ,,by ,j4 ,b4 ,,jacques ,,augustin ,,from ,,the ,,collection ,,of ,,mr4 ,j4 ,,ward ,,usher ,,plate ,,xlvi ,illustration3 ,,marie ,,antoinette ,,by ,m4 ,v4 ,,costa ,,from ,,the ,,collection ,,of ,,mr4 ,j4 ,,ward ,,usher ,,plate ,,xlvii ,illustration3 ,,princess ,,pauline ,,borghese ,,by ,b4 ,,anguissola ,,from ,,the ,,collection ,,of ,,mr4 ,j4 ,,ward ,,usher ,,plate ,,xlviii ,illustration3 ,,prince ,,franz ,w4 ,,hohenlohe ,,by ,,heinrich ,,friedrich ,f,,ger ,,from ,,the ,,figdor ,,collection ,,plate ,,xlix ,illustration3 ,,portrait ,,of ,a ,,lady--,,name ,,unknown ,,by ,,heinrich ,,friedrich ,f,,ger 7,,circa #agij7 ,,from ,,the ,,figdor ,,collection ,,plate ,l ,illustration3 ,,empress ,,maria ,,theresia1 ,,second ,,wife ,,of ,,the ,,emperor ,,francis ,i ,,of ,,austria ,,by ,,heinrich ,,friedrich ,f,,ger ,,from ,,the ,,figdor ,,collection ,,plate ,,li ,illustration3 ,,marie ,,theresia1 ,,countess ,,von ,,dietrichstein ,,by ,,heinrich ,,friedrich ,f,,ger ,,from ,,the ,,figdor ,,collection ,,plate ,,lii ,illustration3 ,f,,rstin ,,anna ,,liechtenstein-,,khevenh,,ller ,,by ,,heinrich ,,friedrich ,f,,ger 7,,circa #agie7 ,,from ,,the ,,figdor ,,collection ,,plate ,,liii ,illustration3 ,,portrait ,,of ,,the ,,artist ,,by ,,giovanni ,,battista ,,de ,,lampi ,,from ,,the ,,figdor ,,collection ,,plate ,,liv ,illustration3 ,,gr,,fin ,,sophie ,,nariskine ,,by ,,moritz ,,michael ,,daffinger 7,,circa #ahce7 ,,from ,,the ,,collection ,,of ,,gr,,fin ,,emma ,,wilczek-,,emo-,,capodilista ,,plate ,,lv ,illustration3 ,,portrait ,,of ,a ,,lady--,,name ,,unknown ,,by ,,emanuel ,,peter ,,gr,,fin ,,sidonie ,,potocka--,,de ,,ligne ,,by ,,emanuel ,,peter ,,from ,,the ,,figdor ,,collection ,,plate ,,lvi ,illustration3 ,,portrait ,,of ,,the ,,artist 7#agic-ahhe7 ,,by ,,ferdinand ,,georg ,,waldm,,ller ,,from ,,the ,,figdor ,,collection ---------------------------------------- ----------------------- ,transcriber's ,note3 ,obvious punctuation and spelling errors repaired4 ---------------------------------------- -----------------------