IV

HANS HOLBEIN THE YOUNGER.CATHARINE OF ARRAGON.CATHARINE OF ARRAGON.

HANS HOLBEIN THE YOUNGER.

CATHARINE OF ARRAGON.

HENRY VIII.HENRY VIII.(H.M. the King.)HENRY, DUKE OF RICHMOND.HENRY, DUKE OF RICHMOND.(H.M. the King.)

HENRY VIII.HENRY VIII.(H.M. the King.)

HENRY VIII.(H.M. the King.)

HENRY, DUKE OF RICHMOND.HENRY, DUKE OF RICHMOND.(H.M. the King.)

HENRY, DUKE OF RICHMOND.(H.M. the King.)

The last enamellers that I would mention are the Essexes, William and William B. The former was born in 1784, and died at Brighton, in 1869. In his long life he exhibited a large number of works at the Royal Academy, mostly portraits, H.M. the late Queen Victoria giving him much employment, and appointing him her enamel painter in 1839. Although most of his works exhibited at the Academy from 1818 until within five years of his death were portraits, or copies of paintings by the old masters, animal painting was really his forte, as may be seen by an examination of his work at the Victoria and Albert Museum.

His son, W. B. Essex, died in Birmingham, in 1852, at the early age of twenty-nine, having contributed to the Academy from 1845 to 1851 some ten or twelve portraits.

In concluding these remarks upon enamel painting, one cannot help feeling a certain regret that the art, as applied to portraiture, I mean, should have fallen into such desuetude in these days. When one considers the beautiful effects which have been produced in it by the hands of masters, and especially the valuable quality of permanence which such works possess (for an enamel by Petitot is as brilliant to-day as it was when it was fired), one must wish that artists would devote themselves to so satisfactory a record of contemporary portraiture. Miniature painting upon ivory, charming as it is in its delicate effects, is, as we all know, subject to the great defect of being fleeting in its nature, when exposed to light. Not only has the charm and beauty of many a miniature by Cosway vanished utterly, but a green and ghastly caricature is left in its place, a travesty and a libel upon the original.

The amount of time and patience requisite to produce an enamel is, no doubt, the secret of the neglect into which it has fallen in these days. The tendency to haste and to hurry, with its concomitant, cheapness of production, is, we are told, ruining the art of such conservative craftsmen as those of China, of Japan, and of India; and if these Western tendencies have made their influence felt in the Far East, it is not to be wondered at that in England of to-day a portrait in enamels is a thing which demands too much labour and time to be in the vogue. True it is that it was never extensively practised here; but now it may be said, as far as regards portraiture, to be practically extinct.

CHAPTER IV

EARLY PORTRAIT PAINTERS

Horace Walpole has asserted that this country has very rarely given birth to a genius in painting. "Flanders and Holland," says he, "have sent us the greatest men that we can boast." The following list of portrait painters who are reputed to have practised in England during the Tudor and Stuart periods contains, it will be seen at once, a very large proportion of foreign names:—

As this book makes no claim to be regarded as a biographical dictionary, and as I have given such particulars as I have been able to ascertain about thewhole of the above named in my larger works, I do not propose to deal with those mentioned in this listseriatim, but I shall devote chapters to the most important of them, such men as Samuel Cooper, Hilliard, Hoskins, Holbein, the Olivers, and Petitot.

N. HILLIARD.

NICHOLAS HILLIARD, BY HIMSELF.NICHOLAS HILLIARD, BY HIMSELF.(From Penshurst.)LADY MARY SIDNEY.LADY MARY SIDNEY.(Harcourt family.)

NICHOLAS HILLIARD, BY HIMSELF.NICHOLAS HILLIARD, BY HIMSELF.(From Penshurst.)

NICHOLAS HILLIARD, BY HIMSELF.(From Penshurst.)

LADY MARY SIDNEY.LADY MARY SIDNEY.(Harcourt family.)

LADY MARY SIDNEY.(Harcourt family.)

As to many of the others, I give their names for the sake of being comprehensive but with reservations. Take, for example, Lucas de Heere. It may be allowed that he worked in England, and there is a very good oil painting by him in the Palace of Holyrood House, of a lady of the Tudor period, miscalled Mary, Queen of Scots. But I should not like to undertake to produce any evidence that he painted miniatures, in spite of the fact of one of Sir John B. Hatton and his mother being shown at Kensington in 1865, and attributed to him.

This work belongs to Earl Spencer. It is dated 1525, and signed "L." Now, the date assigned to the birth of the artist is 1534. In other words, this group, which comes from a great and justly celebrated collection, namely, Althorp, and was shown under such auspices at that great exhibition of miniatures to which I have so often referred—I say, in spite of all this, a picture is actually catalogued as being by an artist who did not come into existence till nine years after the date which the panel actually bears.

The connection of many of the others with miniature painting is decidedly slight, yet, as need hardly be said, there are contemporary references to them which entitle them to a mention in this list. Thus Lanzi has recorded that Lucca Penni and Giralamo Da Trevigi were employed here. Thenthere was a lady miniature painter, a daughter of Master Simon Bennink of Bruges, who was employed by the Court of England. Thus we know that in 1547 "Maistris Levyn Teerling, Paintrix," was paid quarterly £11, and we read of her presenting Queen Mary with a small miniature of the Trinity as a New Year's gift. Again in 1558 she presents her Majesty Elizabeth with the "Queen's picture finely painted on a card," and received in return "one casting bottell guilt," weighing two and three-quarter ounces. And in 1561 she presents "the Queen's personne and other personages in a box, finely painted." "One guilt salt with a cover," weighing five and a quarter ounces, was the return made for this.

Then there was the Horneband, Hornebonde, or Hornebolt family, of whom some interesting particulars will be found in "Archæologia," contributed by Mr. Nichols.

The best known of these appears to be Susannah, whose father was in the service of King Henry VIII. at a monthly pay of 33s. 4d. Her brother Lucas, was even better paid, namely 55s. 6d. per month, a sum which was more, it is interesting to note, than Hans Holbein received.

In April, 1554, the household books of Henry show that the painter was duly paid his salary. In the following month there occurs this entry, "Item for Lewke Hornebonde, Paynter, Wages nil, Quia Mortuus."

Albert Dürer has told us of his meeting members of this family at Antwerp in 1521. He was impressed with the ability of Susannah, who was then abouteighteen years old, and he records how he gave her a florin, for she had made a coloured drawing of our Saviour, of which he says, "It is wonderful that a female should be able to do such a work."

ISAAC OLIVER.

Aproposof Antwerp, Joost Van Cleef may be mentioned. He is described as an industrious painter noted for the beautiful rendering of his hands, and according to Van Mander was the best colourist of his time. He came to this country with an introduction from his countryman Sir Antonio More, and Charles I. purchased two or three of his pictures. He was expecting to get great prices for his work, but it seems some canvases by Titian arrived in England at the same time as he did. According to Walpole this threw the Antwerp painter into a jealous frenzy.

He abused More (who was here at the time painting a portrait of Queen Mary by command of Philip) with whom he afterwards returned to Spain, telling him (More) to go back to Utrecht, and keep his wife from the Canons. The unfortunate Van Cleef is said to have painted his own clothes and spoilt his own pictures, and he behaved in such a way that it was necessary to confine him.

There is a portrait of Henry VIII. at Hampton Court ascribed by some to this painter, and the mention of this monarch reminds me of John and Thomas Betts, brothers as is supposed, the former of whom painted Edmund Butts, son of the King's physician. This portrait, in the black cap and furred gown of the period, is to be seen in the National Gallery, and came from the collection of the late George Richmond, R.A. It is a vigorous, soundlypainted work, recalling Holbein in manner, as may be seen, I think, by the illustration shown on p. 77, though markedly inferior in subtlety of rendering of character to that great master.

It has been customary to term John Betts a pupil of Nicholas Hilliard, but this portrait is conclusive evidence on that point, for it is dated in the clearest manner 1545. Now, as Hilliard was not born till two years later, it is sufficiently obvious that John Betts could not have been his pupil.

In the case of these early English artists, John being supposed to have died in 1570, any information which can be given is of interest. Apart from particulars which may be gleaned from biographical dictionaries, it is worth mentioning that at the Winter Exhibition of the Royal Academy in 1879 the Duke of Buccleuch exhibited a miniature of Catherine de Balzac, Duchess of Lennox (wife of Esmé Stuart, created Duke of Lennox by James VI.), and another of Queen Elizabeth, both ascribed to John Betts. At the same exhibition there was a miniature of Thomas Egerton, Lord Ellesmere (Lord Chancellor, 1603), also lent by the Duke of Buccleuch, and Dr. Propert had a miniature of J. Digby, Earl of Bristol, which he ascribed to Thomas Betts.

Thomas and John Betts are mentioned in Mere's "Wit's Commonwealth," published in London, 1598, together with other artists whose names are hardly known and whose works are absolutely unknown. The painters in question were mentioned in the introduction to the catalogue of the Kensington Loan Collection of 1865, but not a single example oftheir work was forthcoming. Confusion reigns as to their date, and beyond the fact that Vertue mentions a miniature by John Betts of Sir John Godsalve, who was controller of the Mint to Edward VI., and that in Hall'sChronicleof the year 1576 (for which he engraved some vignettes) he is termed a designer, and said to have been a pupil of Hilliard's, but little is recorded of him.

Isaacus Oliverus, Anglus, pictor.Isaacus Oliverus, Anglus, pictor.

Isaacus Oliverus, Anglus, pictor.

Ad vivum lætos qui pingis imagine vultus,Olivereoculos mirifice bi capiuntCorpora quæ formas jus to hæc expressa Colore.Multum est, cum rebus convenit ipse color.

(From a print in the British Museum.)

With the exception of Holbein, and perhaps Petitot, the most important name in connection with our subject, in the list of foreigners which I have given at the commencement of this chapter, is François Clouet or Janet. I shall devote a separate chapter to the latter.

Not least amongst the treasures of the unique collection of miniatures in the Royal Library in Windsor Castle is a small one of Mary Queen of Scots. As I have described this fully in my remarks upon the Royal collection, I shall only now say that it was catalogued for King Charles I. as "supposed to be done by Jennet, a French limner." This name, which is spelt nowadays Janet, is that of a family whose interesting history is given in some detail in Mrs. Mark Pattison's "History of the Renaissance." It is not a little difficult to distinguish between the various members of this family, the Clouets, as they were also called; and we need not stop to deal with the story now, as I have referred to the subject in my remarks on French art (see Chapter XIV.), but there is no doubt that François was Court painter in the reigns of Henry II. and III., of Francis II. and Charles IX. of France, and that hiswork belongs to the period with which we are now dealing. Judged by the standard of his own day, this artist attained a high level of excellence, but if we are to judge of the merits of his work rightly, we must discriminate between his finished pictures and his studies for portraits. Now, these latter, some of which were hardly more than memoranda in black and red chalk, were very fashionable in Janet's day, and there is no doubt immense numbers of them were produced. Great personages of the day owned portfolios of them, which in a sense were the precursors of the photographic albums of our own time.

Of Janet's work I can only mention a few examples here. Amongst them is, at Chantilly, a notable one of Mary Queen of Scots, as she was when nine years old, giving, it must be owned, but slender promise of the physical beauty which afterwards she was allowed to possess by foes and friends alike.

Equally interesting, of greater technical merit, and indeed of supreme importance in their way, are the three superb portraits in the Bibliothèque Nationale, Paris, of Mary Queen of Scots as Dauphine, of her first husband, Francis II., and of herself in the white Court mourning ordeuil blancwhich she wore as widow of the last named.[2]Did only these three works exist, they would be quite sufficient to stamp Janet as an admirable artist, perhaps second only to Holbein in his way and in his time: I say second, because nothing of Janet's, so far as I know, has everreached the high level, the searching execution, the power of draughtsmanship, and the masterly style of Hans Holbein. It is with that great artist, who may be considered as the founder of miniature painting in this country, that we have now to deal.

I. OLIVER.

VENETIA, LADY DIGBY.(Burdett-Coutts Collection.)MISS PRETYMANI. OLIVER, BY HIMSELF.(H.M. the King.)

VENETIA, LADY DIGBY.(Burdett-Coutts Collection.)

MISS PRETYMANI. OLIVER, BY HIMSELF.(H.M. the King.)

I. OLIVER, BY HIMSELF.(H.M. the King.)

Holbein.

Every tyro in art knows, it may be said, the eminence of Hans Holbein the Younger as a painter, and especially as a portrait painter. He had other gifts as well, to which we shall refer by and by, but perhaps all my readers may not be aware that Holbein must be regarded as the actual founder of the art of miniature painting in England.

As Hans Holbein came to London in 1526 it will be seen that the art of limning has, in this country, a genealogy, so to speak, of nearly four hundred years. And during all that long period, and amidst the great number of artists who worked therein, there is no greater name to be found than that of the Augsburg painter. It is to Erasmus that he owed his introduction to this country, which he visited for the first time when he was about thirty-two years of age. The painter's acquaintance with Erasmus was made at Basle, where, by the way, in the Salle des Dessins, one of the best portraits of Holbein is to be found—a drawing in body colour on vellum, beautifully finished, which I here reproduce. Sir Thomas More was a friend of Erasmus, and it was to the house of this distinguished man that Holbein went on his arrival. There he remained some time, painting portraits of eminent men withwhom he must have come in contact at Chelsea, amongst others—Archbishop Warham, Sir Henry Guildford, Fisher, Bishop of Rochester, Sir Thomas More himself, and two generations of the More family.

After a while he returned to Switzerland, and when he revisited this country in 1531 his friend had become Lord Chancellor. We need not attempt to follow his career here in detail; there is no doubt that he soon was taken into the service of Henry VIII., and, becoming a favourite of that monarch, was attached to the Royal household, and appears to have had apartments in the palace at Whitehall. In 1538 he is spoken of as "a sarvand of the Kynges Majesties named Mr. Haunce." At this time his salary was £30 per annum, as to which the relative value of money, then and now, must not be forgotten. In this year he was at Brussels with Sir Philip Hobby, having a commission to paint the portrait of the young widowed Duchess of Milan. It is a magnificent full-length portrait, one of his finest works, and may be seen in the National Gallery to-day, having been lent by the Duke of Norfolk. This demure-looking lady may be credited with having a pretty wit of her own, if the story told of her reception of an offer of marriage by Henry VIII. be true; the answer she made to these overtures was that she must beg to be excused as she was possessed of but one neck.

The collection of pictures and drawings for pictures attributed to Holbein, and now preserved at Windsor, is well known and justly celebrated.But it is with the miniatures which are supposed to be his work that we have most to do in this book. It is somewhat remarkable that so great an authority as the late Mr. Ralph Wornum must be allowed to be should dispute the fact of Holbein having ever painted any miniatures at all. In his "Life and Works of Holbein" he distinctly asserts that there is not a single miniature in existence which can be positively assigned to Holbein.

PETER OLIVER.

SIR KENELM DIGBY.(Burdett-Coutts Collection.)VENETIA, LADY DIGBYVENETIA, LADY DIGBY(Burdett-Coutts Collection.)

SIR KENELM DIGBY.(Burdett-Coutts Collection.)

VENETIA, LADY DIGBYVENETIA, LADY DIGBY(Burdett-Coutts Collection.)

VENETIA, LADY DIGBY(Burdett-Coutts Collection.)

The learned late Keeper of the National Gallery would probably not have disputed that Holbein did paint miniatures, in the face of Van Mander's explicit statement that "he [Holbein] worked equally well in oil and in water-colours; he painted also miniatures of a special excellence, which last art he learned from one Master Lucas, then in London, whom, however, he soon surpassed." Then we have the testimony of Sandrart, who says: "Holbein began practising the art when in the King's service, having been incited thereto by the excellence of the works of Master Lucas." There is no question, either, that Van der Doort regarded Holbein as a limner; in his catalogue of King Charles I.'s collection he speaks of two miniatures of Henry VIII. which he ascribes to Holbein. But Mr. Wornum says of these that it is next to impossible to identify them now. Then there is the express statement of Nicholas Hilliard, who declares himself as the pupil of Holbein in the art of limning.

Finally, in the Bodleian Library is a manuscript by Edward Morgate, dedicated to Henry Frederick, Earl of Arundel, dated July 8, 1654, entitled"Miniatura, or the Art of Limning," in which it is stated that "the incomparable Holbein, in all his different and various methods of painting, either in oyle, distemper,lymning, or crayon, was, it seems, so general an artist as never to imitate any man, nor ever was worthily imitated by any."

AFTER SIR A. VAN DYCK.

But whilst it seems impossible to dispute that Holbein certainly did paint miniatures, the claims of individual specimens to be considered as his handiwork are, of course, open to question, since none of his works of this nature are known to be signed. It may, therefore, be worth while to state what little evidence can be gleaned about some of the best known pieces which are attributed to Holbein. There are at least six in the King's collection at Windsor; of these two are of Henry VIII.; they were given to Charles I. by Theophilus Howard, second Earl of Suffolk, who died in 1640. I have described them at some length in subsequent remarks on the Royal Collection. A third example is that of Lady Audley. Here, again, we have not direct testimony, but apart from the technicalities of the execution and so forth, we have the fact that she was the daughter of Sir Brian Tuke, Treasurer of the Chamber to Henry VIII., and that a portrait of her in red chalk is among the drawings by Holbein at Windsor, the authenticity of which is, I believe, unquestioned. The fourth to be mentioned in this connection is the portrait of Queen Catherine Howard, a replica of which exists in the Duke of Buccleuch's collection. Lastly, I may mention two very interesting portraits of the sons of Charles Brandon, Duke of Suffolk.They were entered in Van der Doort's catalogue as being "done by Hans Holbein. Given to the King by Sir H. Vane."

These I have also described in Chapter XII., under "The Royal Collection," for opportunities of examining which I may express my obligation to the courtesy of the late librarian, Sir Richard Holmes. The picture of a burgomaster (given on p. 85), is one which has been assigned to Holbein, and it is also at Windsor.

Another of Henry's wives, whose portrait is ascribed to Holbein, and was, we have reason to believe, in the Royal Collection at one time, is Katherine of Arragon. Walpole says of this portrait: "It was given to the Duke of Monmouth by Charles II. I bought it at the sale of Lady Isabella Scott, daughter of the Duchess of Monmouth." When the famous Colworth Collection was dispersed, a piece, purporting to be this particular miniature, painted on vellum, was sold. It is reproduced on p. 91. Its then owner, Mr. Magniac, sent it to the South Kensington Exhibition of 1865, believing it, no doubt, to be as described in the catalogue. But had he referred to the "Anecdotes of Painting" he would have found that Walpole's description of it could not apply to this particular work, seeing that it wason a round, and on a blue ground. In the Strawberry Hill sale catalogue it is described as a "very fine specimen of the master," and was purchased by W. Blamire, Esq., for the sum of £50 8s.

A curious picture of a natural son of Henry VIII., by Lady Elizabeth Talboys, was ascribed to Holbeinin the Strawberry Hill Collection. It was sold to the Duke of Buckingham for seven and a half guineas, and bears the following inscription: "Henry Duck off Richmond, ætatis sue XVo." It is painted on an ace of hearts, and was formerly in the collection of Mr. Sackville Bale, who enjoyed the reputation of being a connoisseur of good judgment. This young man, it may be mentioned, who appears to be painted in his nightdress and a most unbecoming nightcap, did not live to be eighteen years of age.

There is an interesting portrait of Holbein himself to be seen at Hertford House. As Mr. Claude Phillips, the keeper of the Wallace Collection, accepts this as Holbein's work, I shall not stop to discuss its authenticity, but I may remark that there is a duplicate of this particular subject at Montagu House. The Wallace example is in oils on card, whilst the Duke of Buccleuch's piece is in gouache, I believe, on card. The view of the face, the position of the hands, and all the details, except the length of the hair, appear identical. As to the hair, it is certainly longer in the Wallace Collection portrait. This latter piece may be thus described. Head and bust of a middle-aged man, wearing black dress and cap, with a lace open collar, holding a pencil in his right hand and looking at spectator, with whiskers and a short beard, dark in colour and rather sparse. Blue background, circular, about one and a half inches in diameter. It is inscribed "1543. Ætatis suæ 45."

JOHN HOSKINS.CHARLES I.CHARLES I.(H.M. the King.)ISAAC OLIVER.DUKE OF BUCKINGHAM.DUKE OF BUCKINGHAM.(H.M. the King.)

JOHN HOSKINS.CHARLES I.CHARLES I.(H.M. the King.)

JOHN HOSKINS.

CHARLES I.(H.M. the King.)

ISAAC OLIVER.DUKE OF BUCKINGHAM.DUKE OF BUCKINGHAM.(H.M. the King.)

ISAAC OLIVER.

DUKE OF BUCKINGHAM.(H.M. the King.)

CHAPTER V

NICHOLAS HILLIARD

As with other branches of art, so with miniature painting, we cannot show any native-born artists of eminence until we arrive at the middle of the sixteenth century, when the series of English miniature painters, properly so called, may be said to begin with Nicholas Hilliard, for we may disregard the one or two others whose names occur only in stray references.

Nicholas Hilliard, born at Exeter, it is said, in 1547, is the first English professed miniature portrait painter whose history can be given. His father was Richard Hilliard, High Sheriff of his county in the year 1560. His mother was a daughter of John Wall, goldsmith, of London, a circumstance which there can be little doubt had much to do with Nicholas Hilliard being brought up to the business of jeweller and goldsmith, occupations closely connected with limning in those days.

Assuming the date usually given for his birth to be correct, as to which I shall have something to say farther on, he engraved the Great Seal whenhe was forty years of age. This means that his reputation was already made—and indeed he had been appointed goldsmith, carver, and portrait painter to Queen Elizabeth, "to make pictures of her body and person in small compass in limning only." According to Pilkington, he owed his introduction to the Virgin Queen to the interest of Sir Walter Raleigh, but I have not met with any corroboration of this statement. It is also commonly said that Hilliard was enjoined to paint her Majesty without shadows. From what we know of the vanity of Elizabeth this is not improbable, though it is, to my mind, by no means certain; and there is another reason for the flatness of treatment which is undoubtedly characteristic of his work, which I shall deal with in considering his method of painting.

James I. granted him a patent to this effect: "Whereas our well-beloved servant, Nicholas Hilliard, gentleman, our principal drawer of small portraits, and embosser of our medals in gold, in respect of his extraordinary skill in drawing, graving, and imprinting, &c., we have granted unto him our special licence for twelve years, to invent, make, grave and imprint any pictures of our image, of our Royal Family, with power to take a constable and search for any pictures, plates, or works, printed, sold, or set up."

There is not much to be said about the career of Hilliard, and this work is not greatly concerned with biographical details. It must, however, be observed that Hilliard had an only son, Lawrence, who followed his father's profession, and enjoyedthe patent granted by King James, until its expiration.

S. COOPER.

OLIVER CROMWELL.OLIVER CROMWELL.(Duke of Devonshire.)OLIVER CROMWELLOLIVER CROMWELL.(Duke of Sutherland.)

OLIVER CROMWELL.OLIVER CROMWELL.(Duke of Devonshire.)

OLIVER CROMWELL.(Duke of Devonshire.)

OLIVER CROMWELLOLIVER CROMWELL.(Duke of Sutherland.)

OLIVER CROMWELL.(Duke of Sutherland.)

There is a warrant of the Council, dated 1624, extant, ordering the payment of £42 to Lawrence Hilliard for five pictures "by him drawn." Probably this privilege was a source of emolument to the Hilliard family (by the way, Lawrence had several children), and gave them control over the engravers and print-sellers of the period to whom licences were granted. Simon de Passe was employed by them in engraving small plates of the heads of the Royal Family.

Nicholas Hilliard died on the 6th of January, 1619, and was buried in St. Martin's in the Fields. He left to his sister, Ann Avery, £20 out of the £30 due to him as his pension. This, it will be remembered, is the same amount as Holbein's salary.

Works by Nicholas Hilliard are by no means rare. We have just seen that he lived to over seventy years of age, and was probably pretty fully employed during the greater part of his career, as is shown by portraits of James I. and his consort, Anne of Denmark, of which several exist.

Fourteen examples of his work were shown at the Winter Exhibition of the Royal Academy in 1879, of which four came from the Royal Library at Windsor. A still larger collection was exhibited at the Loan Collection at Kensington in 1865, and I have, at one time or another, examined a great many examples personally. It may be said of all these that they are characterised by uniformity of style, treatment, and quality.

We have Hilliard's own statement as to his artistic training: "Holbein's manner of limning I have ever imitated," he says, "and hold it for the best." Horace Walpole has remarked concerning this "manner of limning": "Although he copied the neatness of his model (Holbein), he was far from attaining that nature and force which that great master impressed on his most minute works. Hilliard," he continues, "arrived at no strength of colouring; his faces are pale and void of any variety of tints, the features, jewels, and ornaments expressed by lines as slender as a hair. The exact dress of the times he curiously delineated, but he seldom attempted beyond the head, yet his performances were greatly valued."

The paleness of the faces in Hilliard's work, as it exists to-day, is true enough, and would seem to justify the criticism of the owner of Strawberry Hill, and his statement that the painter "arrived at no strength of colouring," but before we accept the conclusion that his portraits always possessed the bloodless appearance they now present, we may ask whether it is by any means certain that they were originally marked by this defect.

It must be remembered that they were painted more than three hundred years ago, which is ample time for the flesh tints to have faded right out. We know how the carnations have flown in numberless examples of comparatively recent work, the ghastly paleness of which robs them of all beauty. The more perfect condition of the jewels and ornaments, with which the figures in Hilliard's picturesare so profusely adorned, is not conclusive, owing to the opaque nature of the colours and the quantity of gold he was wont to use. He commonly painted on card or vellum, and employed, it is said, a brush composed of hairs from a squirrel's tail. His works are generally signed "N. H.," and frequently have a motto and date written round the edge in Latin and abbreviated.

S. COOPER.GEORGE MONCKGEORGE MONCK, DUKE OF ALBEMARLE.(H.M. the King.)

S. COOPER.

GEORGE MONCK, DUKE OF ALBEMARLE.(H.M. the King.)

What is known as "quality" in works of art is a very elusive factor in their charm, and it is proportionately difficult to express in words. Indeed, I might go farther, and say that a large proportion of people who look upon works of art never realise what it means. Hence it is always difficult to assign with absolute fairness and accuracy the rank of a given artist.

There are many things to be taken into consideration, but I think it may be safely said of Hilliard that he stands well in the front of the second row of our native miniature painters. He is certainly inferior in finish and beauty to the Olivers, and his heads are even more deficient in the wonderful rendering of character and the masterly execution of Samuel Cooper, but his faces are well drawn, and are differentiated—far more so, for instance, than are the insipidities of Kneller and Lely and the early Georgian artists.

We know that he won the admiration of his contemporaries, both strangers and fellow-countrymen. In Heydock's translation of "Lomazzo on Painting," published in 1598, we are told that "limning was much used in former times in church books, as alsoin drawing by life in small models of late years by some of our countrymen, as Shoote, Betts, &c.; but brought to the rare perfection we now see by the most ingenious, painful, and skilful master, Nicholas Hilliard."

The ornate jewellery which he appears to have painted with such care was, of course, the fashion of the time, as were the elaborate ruffs, both of which are well shown in the accompanying portrait of Lady Mary Sidney, Countess of Pembroke—an extremely interesting miniature, by the way, which came from Penshurst. This lady was the daughter of Sir Henry Sidney, and married Henry, second Earl of Pembroke. It was to her that Sir Philip Sidney dedicated his "Arcadia." She died in her House at Aldersgate Street, and was buried in Salisbury Cathedral. She was the subject of the well-known epitaph by Ben Jonson:—

"Underneath this sable hearseLies the subject of all verse,Sidney's sister, Pembroke's mother.Death, ere thou hast slain another,Fair and wise and good as she,Time shall throw a dart at thee."

Penshurst Place, the charming old home of the Sidneys, possesses, or did possess, the portrait of the painter himself in his thirtieth year. It is probably also the background in the elaborate and beautiful miniature by Isaac Oliver, in the Royal Collection, which adorns this volume (see p. 295). From Penshurst, too, came the profile of Elizabeth given in this book. I refer to it here because it illustrates soperfectly what Walpole has said about portraits of Elizabeth, who, as we have seen, was certainly painted by Hilliard, and it is an apt criticism on the miniature painting of the time.

S. COOPER.

Speaking of the numerous portraits of Elizabeth which exist, he says there is not a single one to be called beautiful. They are totally composed of hands and necklaces. A pale Roman nose, a head of hair loaded with crowns and powdered with diamonds, a vast ruff, a vaster farthingale, and a bushel of pearls, are the features by which every one knows them at once. In this connection it may be observed there is another portrait of Queen Elizabeth, spoken of by Walpole as one of Hilliard's most capital performances, namely a whole length of her in robes, sitting on her throne. This was in King Charles I.'s Collection, and included in the catalogue by Van der Doort, to which frequent reference has been made, but, so far as I am aware, its whereabouts is not now known.

Fourteen Hilliards are specified in the above-named catalogue, including a view of the Spanish Armada. Four of these, portraits, and copies of older pictures, are now at Windsor, and were once attached to a gold and enamelled jewel, the work on which, it is surmised, was probably also Hilliard's, he being, as we have seen, the Court goldsmith; the portraits are those of Henry VII., Henry VIII., Jane Seymour, and Edward VI. The latter Van der Doort describes as "meanly done," "upon a round card." This remarkable example of goldsmith's work has on one side the roses of York and Lancaster and onthe other a representation of the Battle of Bosworth Field. There are jewelled badges upon the dress and cap of Henry VII., and the miniature is dated 1509, the year of his death. In Horace Walpole's copy of Van der Doort's catalogue, it is noted: "The above jewel and pictures were done by old Hilliard, and given to the King by young Hilliard, by the deceased Earl of Pembroke's means."

It is possible, by means of the miniatures of Nicholas Hilliard, to realise the appearance of many of the personages of Tudor times, and of Elizabeth's Court in particular. Thus, in the Duke of Buccleuch's Collection is a portrait, on vellum, of Edward Seymour, Duke of Somerset; he was the brother of Jane Seymour, uncle of Edward VI., and was beheaded on Tower Hill, 1552.

Also in the Buccleuch Collection is one of the most beautiful of this artist's works, namely, a portrait of Alicia Brandon, daughter of John Brandon, Chamberlain of the City of London. She was the wife of Hilliard, and was painted by him in her twenty-second year, 1578. The picture is charming from the vivacity of the features and its delicate execution. It is circular in form, signed N. H. (connected), and is preserved in a rose-turned case of logwood with an ivory circular rim. It was shown in the Royal Academy Winter Exhibition in 1879.

In the Colworth Collection there was formerly a portrait of Darnley, Earl of Lennox, thus inscribed: "Comes linoz ano Dni 1560 ætatis Suæ 18." I give this description as it is a typical instance of theabbreviations one commonly finds on Hilliard's miniatures.

ALEXANDER COOPER.

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