Chats on Old Miniatures

In concluding these remarks upon the French school of miniature painters, I come to a very distinguished name, that of Isabey, with which two other artists may be grouped as pupils or companions; and we will take the latter first; they are Jean Guérin and Louis François Aubry.

Guérin was born in 1760, and was a companion of Isabey in David's studio. His abilities must have been early recognised at Court, as he painted the King and Queen, and, later, many of the celebrities of the Assemblée; he also lived to paint Joséphine Bonaparte in Court costume. His portrait of General Kléber is perhaps the best known miniature in the Louvre, and is a work of astonishing virility and force of character. It was exhibited in the Salon of 1798, and he made many copies of it. Although his men's portraits are remarkable for their searching modelling, he was equally successful with the portraits of women and children, which he painted with naïveté and tenderness.

The other associate of Isabey was Louis François Aubry, a Parisian, born in 1767, who lived till the middle of the nineteenth century. Contemporary criticism assigned to this artist the ability to imitate his master Isabey, and to rival him in delicacy of brush and fidelity of likeness. Although he exhibited for over thirty years at the Salon, there is nothing by him in the Wallace Collection, and I only recall one in the Louvre, and that is a large miniature, painted with great care, representing a lady playing a harp. It is highly finished throughout, and recalls the best work of Augustin. I should say that he excelled in what may be called full-dress pictures, somewhat conscious, not to say affected, in pose, but excellent work of high technical quality. Aubry was at his zenith during the Restoration; he lived till 1851, and for many years had an atelier in Paris frequented by male and female students.

In some respects Jean Baptiste Isabey is the most remarkable name in the annals of French miniature painting. He was persona grata to successive monarchs, having been peintre attitré to Napoleon, to the Allies, to Louis XVIII., and to Charles X. But the commencement of this artist's career can be taken much farther back, seeing that it was the admiration of Marie Antoinette for his work upon boites decorées that led to his first royal patronage, and resulted in his being installed at Versailles before he was of age. From that time, the very eve of the Revolution, until 1855 he produced a long series of portraits of all the most distinguished personages of his time.

The Wallace Collection is especially rich in his work, there being nearly thirty examples by his hand. With Napoleon I. he was a special favourite, and, as I have said, several of his portraits of the Emperor may be seen at Hertford House, representing him in full Imperial costume, in academic dress, with Joséphine, and otherwise. And there, too, may be seen two portraits of the Duke of Wellington from his hand. But this collection is especially rich in portraits of ladies of the Empire and Restoration, to depict whose charms he adopted a style of his own, known to French critics as portraits sous voile. These ladies are touched in with a light hand and with the freedom of a water-colour sketch.

This manner of painting, in which he may be said to have set the fashion, is the very antithesis in style to that of his master David; but the rigorous training of that severe draughtsman enabled Isabey, when he chose, to paint with a precision and minute finish which is the ne plus ultra of such work. This was shown in a large piece, twenty-three by seventeen centimetres, exhibited in Paris in 1906, and representing the children of Joachim Murat, and Caroline of Naples déjeunant sur l'herbe. This, I do not hesitate to say, is the most extraordinary piece of work of its kind that I have ever seen. It is a group of several children in velvet dresses of the period, and a certain quality of velvety softness marks the execution. The attention to detail is microscopic; all the accessories of the little picnic party are painted with elaborate care; the stalk of the flowers in the dessert dish, the tiny finger-nails of the children, are all treated as if the artist's reputation depended upon the fidelity with which he represented them. It is a veritable tour de force of finish; but such is the brilliant and luminous way in which he has handled it that there is nothing hard or laboured in its effect, in spite of the immense amount of work it must have entailed.

In this particular example there is a quality recalling the finest Flemish work; and yet, as Isabey came to the capital, as we have seen, before he was twenty-one years of age, he can hardly have been subject to Flemish influences; I should attribute it to the influence of David and the classical school. The group I have been describing is not dated, but clearly belongs to the halcyon days of the Empire.

It may have been the demands made upon the time of Isabey, owing to his numberless commissions, that made him adopt the less laboured style of most of the portraits of ladies which may be seen at the Wallace Collection—that is, his latest manner—which is so entirely different from the group of Murat's children as to make one almost doubt at first sight that it can have proceeded from the same hand.

I had intended to close this notice upon the French painters with Isabey, who, as he lived to be nearly ninety, seems to be linked on almost to our own times; but there are two or three others to whom I must briefly refer, of whom the Italian Ferdinand Quaglia is one.

He was born in 1780, and was established in Paris in 1805, where, having obtained the patronage of Joséphine Beauharnais, he became a Court painter. A miniature of the Empress by him may be seen at Hertford House; it is probably a replica, as it is dated 1814, and she was divorced five years earlier. Quaglia's work is marked by high finish, but it is uninteresting, and his style sometimes approaches the smoothness of porcelain, which detracts from its artistic value.

Another artist who clearly enjoyed the French Imperial patronage was C. Chatillon, as is shown by the beautiful portrait of Napoleon in his coronation robe and wearing the laurel wreath of victory, which adorns this volume. The original is in the collection of his Grace the Duke of Wellington.

Daniel Saint was an excellent artist, though not, perhaps, of the first rank; there are several examples of his work in the Wallace Collection, and he may be regarded as the successor of Augustin and Dumont.

Lastly, I may mention J. Mansion, who painted many charming portraits of the period of the Restoration, as may be seen at Hertford House. He was associated with the Sèvres factory, but his quality as a portrait painter is amply vindicated in the Wallace Collection. His work was probably largely influenced by Isabey, whose style it closely resembles.

CONCLUSION

The practice of the art of Miniature Painting has now been traced through several centuries, from its origin in the cloister, to its enthronement on the hearth and place of honour in mid-Victorian homes.

These pages will have been written to little purpose if they have not amply demonstrated the truth of what Dr. Johnson has finely said of the art, namely, that it is "so valuable in diffusing friendship, in reviving tenderness, in awakening the affections of the absent, and continuing the presence of the dead."

I have quoted these words elsewhere; but none that I am acquainted with so aptly express the personal interest pertaining to miniatures, which strikes a deep and vibrant note, one which, when joined to exquisite work, as we have seen it to be in the case of so many examples of the older masters, lends an indefinable charm to miniatures, and makes them amongst the most cherished of human possessions.

Thus much, then, as regards the past. The future progress of this fascinating art it will be for others to chronicle, if, and when, it regains an importance which warrants a record.

At present all good judges agree that, in spite of the number of those who are practising as miniature painters, the standard reached is most disappointing. The reason for this unsatisfactory state of affairs I shall leave my readers to determine for themselves, for I may be told that in talking about old miniatures it is no concern of mine to point out, and still less to dwell upon, the merits or otherwise of recent examples. Nevertheless, as one who has studied the subject somewhat closely for many years, I may be allowed to express the conviction that the deficiencies so painfully apparent in modern work are mainly due to the want of thorough artistic training.

Miniature painting is too often taken up much as ladies take up some new kind of "fancy-work" (as they term it). Want of success—due to lack of knowledge and lack of experience—soon leads to discouragement. Thus the persistent practice which led to success in other days is wanting, and the artist's powers never reach their full development. If this be true, and I think it is, the remedy for it, as far as the artists are concerned, may be found in more careful training and in patient devotion to work.

But then, the public who employ them must play their part. They must show greater refinement of taste, and learn to discriminate; to reject what is bad or indifferent, and realise that good work cannot be cheap work, that it demands and is entitled to adequate remuneration.

It should be the task of each successive generation to see that the art of miniature painting is encouraged. Miniatures must be taken seriously, not regarded as mere bric-à-brac or trifles. I repeat, we must insist upon a high standard. We have a goodly heritage of beautiful work of unique historical value handed down to us, and it is a duty to perpetuate this series, so that the "fair women and brave men" of our own days shall not go unrepresented; and thus shall we add our share to the treasures of our national art and earn the gratitude of posterity.

INDEX

• A
•  
• Amber, Millicent, wife of William Cobden, 256, 257
• Amsterdam, Liotards at, 218
• Anglo-Celtic, see Hibernian
• Arlaud, 28
• Ashmolean Museum, miniatures at, 83
• Aubrey, L. F., 355
• Audley, Lady, by Holbein, 286
• Augustin, J. B. J., quality of his work, 350, 351;
• examples of, in Wallace Collection, 310, 351;
• his career, 351
• Augustin, J. B. J., Madame, 351
•  
• B
•  
• Barbor jewel, the, 315
• Battersea enamels, 89
• Belvoir, miniatures at, 298
• Bessborough family, owners of Liotards, 218
• Betts, J. & T., 28, 105, 106, 109
• Bibliothèque Nationale, Paris, Janets at, 288
• Biffin, Miss, 35
• Boit, Charles, 83
• Bonaparte, Napoleon I., 308
• Bonaparte, Caroline, 308
• Bonaparte, Jerome, 308
• Bonaparte, Louis, 308
• Bonaparte, Pauline, 308
• Bone, Henry, 30, 90
• Bone, Henry Pierce, 30, 93
• Bone, W., 30, 93
• Bone, C. R., 30, 93
• Bone, P. J., 31
• Bordier, Jacques, 75, 198, 201
• Bordier, Pierre, 76, 201
• Boucher, François, 308, 337
• Boucher, Madame, 338
• Bourgeois, C. G. A., 352
• Brandon, Alicia, wife of N. Hilliard, 297
• Brandon, Charles and Henry, sons of the Duke of Suffolk, by Holbein, 282
• British Museum, enamels at, 73
• Buccleuch Collection of Miniatures, the, 22, 118, 122, 140, 143, 149, 160, 293-95, 300
• Burdett-Coutts Collection, 298, 299
• Byzantine work, 66, 69
•  
• C
•  
• Camargo, La, portrait of, 309
• Canterbury Gospels, 53
• Carlisle, Earl of, his collection, 206
• Carlovingian school, 53
• Carriera, Rosalba, 334;
• her character, 334;
• her pastels, 337
• Carter, W., 35
• Catherine of Braganza, by Cooper, at Victoria and Albert Museum, 316
• Chalon, A. E., R.A., 31, 271
• Chalon, J. J., R.A., 31
• Chalon, Miss M. A., 31
• Chalon, H. B., 31
• Chantilly, works by Janet at, 110, 288;
• reference to, 332
• Charles I., his collection of miniatures, 22;
• his miniature by Petitot, 206
• Charles II., by Cooper, 183, 291, 309;
• by Flatman, in the Wallace Collection, 309;
• his miniature by Petitot, 206
• Charlemagne, 53
• Charlier, patronised by Louis XV., 338;
• examples of, at Hertford House, 306, 339
• Charlotte, Queen, by O. Humphrey, 252, 292
• Chatillon, C., 359
• Chavant, Mlle., imitator of Petitot, 202
• Chinnery, George, 247
• Claypole, Elizabeth, 294, 297
• Clive, Lord and Lady, portraits of, 247
• Clouet, works by, 333
• Cobden family, miniatures of, 256
• Cobden, William, 256
• Cobden, Richard, 256
• Cobden, Richard Brooks, 259
• Cobden Unwin, Mrs., miniatures belonging to, 256-59
• Collins, Richard, 31
• Collins, Samuel, 31, 221, 251
• Constantin, Moïse, imitator of Petitot, 202
• Cooper, Samuel, 31, 57;
• Evelyn's reference to, 50;
• his birth and career, 175;
• Pepys's admiration for him, 176;
• money value attaching to his miniatures, 179;
• his portraits of the Protector's family, 179, 180;
• merits of his work criticised, 183;
• examples in the Royal Collection, 186;
• at Montague House, 294;
• at Welbeck, 297;
• at Kensington, 314;
• at Victoria and Albert Museum, 315, 319
• Cooper, Alexander, 31;
• rarity of his work, 186;
• his death, 186;
• his inferiority to S. Cooper, 187
• Corneille de Lyon, 333
• Cosway, Richard, 31;
• his reputation, 232;
• his eccentricities, 232;
• his career, 235;
• his training and dexterity, 235;
• the number of his works, 236;
• and of forgeries of the same, 236;
• a great collector, 238;
• his marriage, 238;
• his character, 242;
• his technique, 245;
• his portrait of the Duchess of Devonshire, 292;
• his works at Victoria and Albert Museum, 314
• Cosway, Maria, reference to, 31;
• her parentage and marriage, 238;
• her ability as a painter, 238, 241;
• separates from her husband, 241;
• retires to Italy and dies, 242
• Courtois, Jehan, 70
• Cromwell, Oliver, by S. Cooper, at Montague House, 294
• Crosse, Lawrence, 31;
• his style of painting, 218;
• examples at Welbeck, 298
• Crosse, Richard, 31
• Cuper, Madeleine and Margaret, 79
•  
• D
•  
• Dartrey, Lord, collection of, 80, 201
• Dauphin, Janet's portrait of, 287
• Davis, Mary, by S. Cooper, 297
• Day, Alexander, 31
• Day, Thomas, 31
• Dayes, Edward, 31
• de Court, Suzanne, 70
• de Heere, Lucas, 101
• de la Chana, Alexandre, imitator of Petitot, 202
• Derby, Alfred, 31
• Derby, William, 31, 221
• Devonshire, Duchess of, portrait of, 238
• Dickinson Gallery, exhibitions of miniatures at, 264, 299
• Digbys, the, portraits of, 150, 153, 154, 299
• Dimier, M., on the Clouets, 331;
• on Corneille de Lyon, 333
• Dixon, John, 31;
• engraver, 31;
• examples of, in the Buccleuch Collection, 297
• Dixon, N., 31, 32
• Downman, John, A.R.A., 268
• Drake, Admiral, by S. Cooper, 297
• Dubourg, Augustin, 352
• Dudman, W., miniature painter, 256
• Dufey, copyist of Petitot, 202
• Dumont, F., his career, 346;
• character of his work, 349
• Dumont, Laurent N. A., 349
• Du Thé, Mlle., portrait of, 309
• Dyce Collection at Victoria and Albert Museum, 315
•  
• E
•  
• Edridge, Henry, A.R.A., 268;
• his copies of Reynolds and drawings, ibid.
• Edward VI., by Hilliard, 286
• Enamels, early use of, 65;
• cloisonné, 66;
• champlevé, 69;
• Limoges, 70
• Engleheart, George, 32;
• his origin, 255;
• characteristics of his style, 255;
• number of his works, 255;
• their rarity in our public collections, 256
• Engleheart, J. C. D., 37
• Essex, William, 32, 93, 315
• Essex, William B., 32
• Ethelwald, Benedictional of, 56
•  
• F
•  
• Felu, C. F., 35
• Ferrier, F., 32
• Ferrier, L., 32
• Ferrand, J. P., imitator of Petitot, 202
• Fitzherbert, Mrs., by R. Cosway, 309
• Flatman, T., example of, in Dyce Collection, 316
• Foldsome, Miss, see Mee
• Forster, Thomas, portraits of Duke and Duchess of Marlborough, 314
• Fragonard, J. H., examples of, 310, 339
• Fragonard, Madame, works by, 310
• French School, as shown at Hertford House, 307;
• its excellence, 327
•  
• G
•  
• Gardiner Collection, 79
• Geddes, portrait of A. Plimer by, 246
• George III., patronises Humphrey, 252;
• patronises Engleheart, 255
• George IV., miniature of, 245
• Gibson, Richard, 32
• Gibson, Penelope, 32
• Gibson, William, 32
• Goupey, Louis, 32
• Goupey, Joseph, 32
• Goupey, Bernard, 32
• Green, Mrs. Mary, 32
• Green, Robert, 32
• Gribelin, Isaac, 74
• Grimaldi, W., copy by, 309
• Guérin, J., 355;
• his career, 355;
• his portrait of Kléber, 355
• Gunning, Elizabeth, Duchess of Hamilton, 222
• Gunning, Maria, Countess of Coventry, 222
•  
• H
•  
• Hall, P. A., 80;
• his portrait of Marie Antoinette, 205;
• works by, 307;
• at Hertford House, 310;
• facility of his execution, 339;
• characteristics of his work, 339;
• his career, 340;
• high price fetched by his work, 340
• Hamilton, Lady Elizabeth, 222
• Hargreaves, Thomas, 267
• Haughton (or Houghton), Moses, 32
• Hayter, Charles, 32, 271
• Hayter, Sir George, 32
• Hazlitt, William, 242
• Heins, D., 32
• Heins, John, 32
• Henderson, R., 57
• Henrietta, Duchess of Orleans, by Petitot, 299
• Henry VII., by Hilliard, 286
• Henry VIII., by Holbein, 285;
• by Hilliard, 286
• Henry Frederick, Prince of Wales, miniature of, 36;
• by I. Oliver, 288
• Henry, Duke of Gloucester, by S. Cooper, 314
• Hertford House Collection, see Wallace
• Hibernian School of Manuscript, 53
• Hiles, Bartram, 35
• Hilliard, Nicholas, 32;
• his manner of painting, 39;
• birth and parentage, 127;
• employed by Elizabeth, ibid.;
• his death, 131;
• examples of his work, ibid., 136-44, 286, 288, 297, 314;
• his method of painting and merits, 132-36
• Hilliard, Lawrence, 32, 128, 131
• Holbein, Hans, the Younger, the founder of miniature painting in England, visits Sir Thomas More, 113;
• portraits by him, 114;
• taken into the service of Henry VIII., ibid.;
• collection of drawings and miniatures by, at Windsor, ibid., 118, 282;
• at Hertford House, 309;
• other works by, 121, 122
• Holmes, Sir Richard, on the Royal Collection, 281, 282, 287
• Hone, Nathaniel, R.A., 32, 84, 87
• Hone, Horace, A.R.A., 32, 87
• Hopkins, Thomas, 33
• Hopkins, William, 33
• Horneband Family, 102
• Hoskins, John, 32;
• his career, his pupils, 166;
• examples of work, 167;
• his merits as a miniature painter, 167, 168;
• his death, 169
• Houin, C. J. B., 345
• Howard, Katherine, 282
• Hudson, Thomas, Master of Cosway, 235
• Hughes, Madame, by S. Cooper, 297
• Humphrey, Ozias, R.A., his qualities as a miniature painter, 248;
• compared with Plimer and Smart, 251;
• his origin and career, a pupil of Collins, 251;
• goes to Italy, 252;
• and India, 251;
• his prices, 251;
• examples of his powers as a copyist at Knole, 255;
• beauty of his work, 292;
• his portrait of Queen Charlotte, 292
• Hurter, the Brothers, 80
•  
• I
•  
• Isabey, J. B., his portrait of Napoleon I., 308;
• painter to successive monarchs, 356;
• examples at Hertford House, 310, 356;
• diverse nature of his work, 357, 358
•  
• J
•  
• James II., by Cooper, 291;
• by Petitot, 206, 299, 300
• Janet, François, his family, 109, 331;
• his work at Windsor, 287;
• by members of his family, 333
• Jansen, S. J., 89
• Jennings, Sarah, Duchess of Marlborough, by B. Lens, 319
• Jones Collection, 76-80, 148, 156, 193;
• index of portraits in, 320-24
• Joséphine, Empress, portraits of, 307
•  
• K
•  
• Kells, book of, 53
• Kensington, Loan Collection at in 1865, 131, 143, 144
•  
• L
•  
• Lambert, imitator of Petitot, 202
• Laudin, 70
• Lavreince, Nicholas, 343;
• his career and nature of his work, 344
• Leczinska, Marie, portrait of, 308
• Legarré, Jules, 207
• Lens, Bernard, 32;
• examples of, at Welbeck, 248
• Lens, Andrew B., 32
• Lens, Peter P., 32
• Lens family, 218
• Limousin, Lenard, 70
• Limousin, Jean, 70
• Limousin, Joseph, 70
• Limousin, François, 70
• Linnell, John, 268
• Liotard, J. E., his work criticised, examples at Amsterdam and Paris, 218
• Loggan, David, portrait of Sir G. Verney, 314
• Louis XV., portrait of, 308
• Louis XVI., portrait of, 308
• Louis XVII., portrait of, 308
• Louis XVIII., portrait of, 308
• Louvre, enamels at, 73, 206;
• snuff-boxes, 80, 205;
• Le Noir Collection, 205;
• Liotards at, 218
•  
• M
•  
• Mansion, J., works by, 310;
• at Hertford House, 313, 350
• Marie Louise, portraits of, 307
• Mary, Queen of Scots, portraits of, 109, 110, 143, 287
• Massé, J. B., 337
• Mayerne, Sir T. de, 75, 194
• Medici, Catherine de, 332
• Mee, Mrs., 268
• Meyer, Jeremiah, R.A., 87, 88, 315
• Milton, John, by S. Cooper, 297
• Miniatures, on the collecting of, 22;
• forgeries of, 27, 237;
• on the care and preservation of, 36-42;
• painted on several pieces of ivory, 41;
• origin of the art, 45-57;
• and of the term, 49;
• method of painting, 58-62
• Miniature painters, early, 97
• Miniature painting, its long history, 363;
• importance of perpetuating it, 364,
• Monck, George, by Cooper, 183, 291
• Monmouth, Duke of, by Cooper, 183, 291;
• by Dixon, 297
• More, Sir A., 105
• Moser, G. M., R.A., 33, 87
• Moser, Joseph, 33
• Moser, Mary, 33, 88
• Mosnier, J. L., 344
• Muss, Charles, 84
•  
• N
•  
• Napoleonic period illustrated at Hertford House, 307
• Netscher, Gaspar, 218
• Newton, Richard, 33
• Newton, Sir William J., 32, 41, 271;
• the number of his works, ibid.;
• example at Victoria and Albert Museum, 315
• Nixon, James, 221
•  
• O
•  
• O'Keefe, Daniel, 33
• O'Keefe, John, 33
• Oliver, Isaac, 33;
• the Oliver family, 147;
• examples of Isaac Oliver's work, 149-160
• Oliver, Peter, 33;
• his parentage and family, 161;
• his copies ofold masters, 165;
• his death, 161;
• example at Victoria and Albert Museum, 314
• Olivers, the, in Burdett-Coutts Collection, 298, 299
•  
• P
•  
• Pala d'oro, 69
• Périn, Louis L., 349
• Perrot, copyist of Petitot, 202
• Petitot, Jean, 24, 74, 75, 79;
• his origin, 194;
• his arrival in England, ibid;
• introduction to Charles I., and friendship with Van Dyck, 197;
• takes refuge in Paris, ibid.;
• his numerous portraits of Louis XIV., 198;
• quits France and settles at Geneva, ibid.;
• his death at Vevey, ibid.;
• his copyists, 202;
• fine examples of his work, 206, 299;
• number of, in Jones Collection, 316
• Petitot Fils, 201;
• inferiority of his work to that of the elder Petitot, ibid.
• Plimer, Andrew, 33, 245;
• parentage, 33, 245;
• death, 246;
• his portrait in the Scottish National Gallery, 246;
• his group of the Rushout girls, 246;
• examples of, at Victoria and Albert Museum, 314
• Plimer, Nathaniel, 33, 245;
• exhibits at Royal Academy, 245
• Plott, John, 87
• Plumley Collection at Victoria and Albert Museum, 315
• Pompadour, portrait of, 308
• Pope, Alexander, miniature painter and poet, 33
• Portland, Duke of, his collection, 297;
• Coopers in, 298
• Portsmouth, Duchess of, by Cooper, 297
• Powis, earl of, collection of, 247
• Prewitt, W., 84
• Primitifs Français, Exhibition of, 332, 334
• Propert, Dr., on forgeries, 236, 237
• Prudhon, P. P., 350
•  
• Q
•  
• Quaglia, F., 358
•  
• R
•  
• Radnor, Earl of, collection of, 241
• Raeburn, Sir Henry, 268
• Raleigh, Sir Walter, and his son at Belvoir, 298
• Ramolino, Madame, portrait of, 307
• Reymond, Pierre, 70
• Reynolds, Sir Joshua, P.R.A., referred to, 235, 251, 255
• Robertson, Andrew, his origin, 33, 263;
• his varied talents, 263;
• comes to London and makes B. West his patron, 264;
• characteristics of his work, 264;
• his death and character, 264
• Robertson, Archibald, 33
• Robertson, Alexander, 33
• Robertson, Mrs. A., 33
• Robertson, Walter, 34
• Robertson, Charles, 34
• Rome, King of, portrait of, 308
• Romney, George, goes to Italy with Humphrey, 252
• Ross, H., 34, 276
• Ross, Mrs., 34
• Ross, H., Junr., 34
• Ross, Miss Maria, 34
• Ross, Miss Magdalene, 34
• Ross, Sir William Charles, R.A., 34;
• his birth and parentage, 275;
• his precocity, 275;
• is patronised by Royalty, 275;
• the great number of his works, 275;
• characteristics of his style, 276;
• many examples in the Royal Collection, ibid., 292;
• examples of, at Victoria and Albert Museum, 315
• Rouvier, M., 346
• Rouvigny, Rachel de, her portrait, 197
• Rupert, Prince, by Dixon, 297
• Rushout, the Misses, Plimer's miniature of, 246, 247
• Rutland, Duke of, his collection, 298
•  
• S
•  
• Sadler, Thomas, 34
• Sadler, William, 34
• Saint, D., 359
• Saunders, George L., 34
• Saunders, Joseph, 34
• Saunders, R., 34
• Schreiber Collection, 89
• Seymour, Jane, by Hilliard, 286
• Sheepshanks Gallery, see Victoria and Albert
• Shelley, Samuel, 221
• Sheridan, Mrs., 251
• Sherlock, William, 34
• Shipley's Drawing School, 235, 247
• Sicardi, or Sicard, L., 345;
• charm of his colouring, 345;
• example at Hertford House, 345
• Sidney, Sir Philip, by I. Oliver, 288
• Singleton, Joseph, 34
• Singleton, William, 34
• Smart, Anthony, 35
• Smart, John, 34;
• his birth and career, 247;
• goes to India, 247;
• qualities of his art, 248
• Smart, John, junr., 34, 247
• Smart, Samuel Paul, 34
• Smith Thomas Correggio, 34
• Smith, John Raphael, 34
• Snuff-boxes, 79;
• their use in the eighteenth century, 205
• Soutter, J. G., imitator of Petitot, 202
•  
• T
•  
• Teerling, Levyn, 102
• Thorburn, Robert, A.R.A., his method of painting large works on ivory, 41;
• his rapid rise, 271;
• his method of making cabinet pictures, 275
• Toutin, Jean, 74, 193
• Toutin, Henri, 75
•  
• U
•  
• Unwin, Mrs., see Cobden
• Upsala, MSS. preserved at, 57
•  
• V
•  
• Van Cleef, J., 105
• Van der Doort's catalogue, 285, 286, 288
• Van Dyck, Sir A., his friendship with Petitot, 197
• Victoria and Albert Museum, enamels at, 73, 74, 76, 93;
• snuff-boxes at, 205;
• miniatures at, 313
•  
• W
•  
• Waddesdon Collection, 73, 74
• Wallace Collection, miniatures in, 304-313;
• snuff-boxes, 79
• Walpole, Horace, his criticisms, 183, 299
• Welbeck Collection, 297
• West, Benjamin, P.R.A., a patron of Robertson, 264;
• his influence at Court, 264
• Windsor, collection at, its extent, 282, 291;
• Olivers at, 149, 150, 165, 288
• Wood, William, 267
• Wright, Mrs., see Biffin
•  
• Z
•  
• Zincke, C. F., 83, 300