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ND \ CORNELL UNIVERSITY LIBRARY FROM "r.and Mrs. '"m.-F .E. hurley i 4 '37 DATE DUE N 2 2 'T7 " 4p 2 *4fl 10'40 |e Cornell University Library N7616 .H42 + Miniatures, 1924 030 651 917 3 Overs olin THE CONNOISSEUR'S LIBRARY GENERAL EDITOR : CYRIL DAVENPORT MINIATURES Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924030651917 PHIUP THE GOOD FLEMISH MINIATURE ON VEU.UM ( Dale about 1480) MI NI ATURES BY DUDLEY HEATH NEW YORK : G. P. PUTNAM'S SONS LONDON: METHUEN AND CO. I905 a PREFACE THE literature on miniatures has not been exten- sive, and the tendency to increase its volume at the present time is sufficient reason for wishing to widen its grasp and survey by a painter's view of the subject. Dr. Propert's excellent history of the art still retains its place as a scholarly book of reference from the collector's point of view. Unfortunately its limited edition could only reach the very few connoisseurs and collectors who were wise enough to obtain a copy whilst it was still in print. The series of exhibitions which have been held in recent years of the past masters of the art, the formation of two societies for the encouragement of modern miniature painting, and the spread of maga- zine literature devoted to this subject, have helped the general advancement in taste and knowledge, so that to-day the interest in the historical aspect of this English ' art of portraiture in little ' is not confined to the wealthy connoisseurs, but can claim many enthusiasts with less means but no less judgment. Unfortunately, our public national collections are in no way complete records of the best miniaturists of any period, and it is only the excep- tionally privileged who have had the opportunity of studying the wealth of fine work that is possessed by many of our oldest families. The chief object of this volume is to place before the connoisseur—and I use the word in its widest sense— historical account of the art of miniature which shall be suggestive and stimulating to further study and apprecia- tion, rather than an exhaustive catalogue or an authorita- tive guide for the specialist. MINIATURES Artists are the first to recognise the limited value of so-called authoritative opinions, and this book will have fulfilled a large measure of its usefulness if it assists the enthusiast to become his own authority in the all-impor- tant matter of a correct artistic judgment. With this idea in view I have wished to show how inevitably the art of miniature painting reflects the state of vitality that co- exists in other branches of painting, and to what extent it may be said to depend on them for its manners of expression. I have wished to place the individual ex- ponent of the art and the school to which he belongs in their correct relative position from the historical and artistic point of view, without being unduly influenced by fashionable opinion, which is over ready to extol its idol to the sacrifice of other artists. Though, as it is seen, I lay no claim to the autocratic dignity of an abso- lute authority, I may, without immodesty, claim, both traditionally and practically, a very close and continued connection with the art. It is necessarily through a practical knowledge of its technical side that a really full understanding of the historical development of an art is gained, for theories which are propounded without suffi- cient technical knowledge have an awkward way of running through facts like water through a sieve. At least it may be said that the subject has been treated here with a sure foundation of practical experience. For this reason, if for no other, I hope this book may contain elements of value alike to the student and the connoisseur, and that those passages which are purely technical may help to elucidate certain principles without which no one can form a truly adequate opinion of a work of art. In the illustrations, which are an especial feature of this book, will be recognised at once the value of colour. I have selected examples for colour reproduction with the object of showing the characteristics of the four distinct schools flourishing respectively under the Tudor dynasty of the fifteenth and sixteenth centuries, the Stuart dynasty of the seventeenth century, the Georgian of the eighteenth PREFACE century, and that of the present day. The frontispiece of Philip the Good gives an excellent idea of the scheme and method adopted by the early Flemish portraitists, culmi- nating in the maturer work of Holbein. In the examples of Peter Oliver, Samuel Cooper, John Hoskins, and Nathaniel Dixon we see representative work of the Stuart painters; in Cosway, Plimer, Shelley, and Andrew Robertson, of the Georgian period ; and there are four very diverse treatments by modern painters. The best black and white reproduction can only be truly satis- factory to those limited few who have had the advantage of seeing the original. To the majority it is a somewhat dead echo of the thought and feeling of the artist. Even the most careful and elaborate description of the colour scheme may not call up in the mind a correct impression, for the simple reason that colour, which is so often the soul of a painting, is to a great extent subjective, and * excites different people in a completely different way. I therefore hope that the colour engravings will inspire the imaginations of those who have not known the originals, and will be a much more valuable record for j those who have. Another very important feature of the illustrations, and one not hitherto sufficiently considered, is the fact that all the reproductions are produced exactly the same size as the original miniatures. To reduce the scale of so small a work of art is to destroy its proper balance in relation to itself and other miniatures. A fine miniature should be designed and fashioned to a certain proportion ; its every brush-stroke will be in relation to, and therefore in harmony with, its superficial area. What is admirable in a miniature of two inches might be trivial and finicking in one of four. Below a certain size freedom of handling is wellnigh impossible, and an inch, or even the fraction of an inch, added to a miniature will convert it into a field of wonderful possibilities in this respect. To take an example, the Cosway miniature of Mrs. Butler, if reduced to the average size of the other miniatures by vii MINIATURES this artist, would lose all its free and facile charm, all its tentative feeling for expression. In the same way the Cooper portrait of the Duke of York has added dignity in its slightly larger scale. The realisation of this special feature has of necessity somewhat reduced the number of miniatures it was possible to illustrate, but as it is only the minor painters who have been left out, I believe it will be generally admitted that the gain more than counterbalances the loss. I have, notwithstanding, been able to give illustrations from such rare masters as Clouet, John Bettes, Cornelius Jansen, Nathaniel Dixon, Francis Cleyn, William Prewitt, and Richard Gibson, whose works are probably often wrongly attributed to other painters. Nathaniel Dixon must surely have painted many miniatures wrongly accredited to others, or left without any name to adorn them. He has, I think, failed to obtain sufficient recognition as one of the brilliant con- temporaries of Cooper, and the three illustrations from his work given here will be seen to be full of exceptional character and truthfulness. It will be noticed that the selections from Cooper's art include some of the finest known miniatures by this master. The selection has been made after considerable thought, with the intention of giving the most complete idea of his marvellous grasp of personality, and of placing him in his rightful position as the greatest exponent of the miniature portrait. Several of the illustrations in this book are from works reproduced now for the first time, notably the Flemish miniature of Philip the Good, the charming pencil-drawing by Cosway, and the miniature of Charles Heath by Andrew Robertson, and others. Also the coloured reproduction of the famous enamel of the Countess of Dysart by Henry Bone is for the first time attempted in facsimile. It is my pleasure to offer sincere thanks and acknow- ledgments to the many collectors and friends who have viii PREFACE so graciously assisted me in the study and selection of worthy examples to illustrate this book. I have the pleasurable reminiscence of Her late Majesty Queen Victoria's graciousness and kindness in granting facilities for my early study of that unrivalled royal collection which owed its inception in its present form to her own enthusiasm, and to-day I am privileged to acknowledge my indebtedness to His Majesty King Edward vn. for his especial permission to include examples from that collection as illustrations. To His Grace the Duke of Buccleuch I would especially express appreciation of the unrestricted oppor- tunities afforded me for studying the magnificent collec- tion at Montagu House, and of reproducing so many of its unique specimens. To their Graces the Dukes of Devonshire and Port- land I desire to make a like acknowledgment for similar privileges, and I have to regret that lack of space alone prevented me from including examples from Devonshire House and admitted of my using only a few of the historic collection at Welbeck.