Chats on Old Miniatures

CHAPTER XIII

PUBLIC COLLECTIONS

The private collections of the United Kingdom, scattered as they are all over the country, are by the nature of things not readily accessible to the general reader. But with the public galleries the case is different; and in London there exist, within half-an-hour's walk of each other, two very considerable and instructive collections which may be seen, studied, and compared at leisure. I refer, of course, to those of Hertford House and the Victoria and Albert Museum at South Kensington.

And here, in passing, I should like to emphasise the great practical value of the comparisons which such visits enable us to make. To see, side by side, miniatures of various periods and by various masters is more informing than any amount of printed description.

The three hundred miniatures, or thereabouts, which the Wallace Collection contains, are extremely valuable, not only intrinsically, but because they present some reliable portraiture of great interest, and, especially, because they are the only examples of many eminent miniature painters which are to be found in any public galleries in this country. As with oil paintings, so with miniatures; this collection fills lacunæ. The National Gallery is remarkably – one might say unaccountably – deficient in the French School, especially of the eighteenth century (the nineteenth, as we all know, is hardly represented at all), whilst the magnificent collection got together by the third and fourth Marquis of Hertford and Sir Richard Wallace, and now shown at Hertford House, is rich in these masters – so rich as almost to provoke the envy of our neighbours across the Channel.

It may be well to inform such of my readers as are not familiar with Hertford House that the miniatures are all to be found in three double cases in Gallery No. XI. The light, admitted by a side window, is not over good; this window faces north, and the best time to see the miniatures is in the morning.

The arrangement, roughly speaking, is as follows: —

In case B are placed miniatures of the sixteenth, seventeenth, and eighteenth centuries.

In case C, miniatures chiefly of the Napoleonic period and the Restoration.

In case D, miniatures of the eighteenth and nineteenth centuries, and a large number of small copies after François Boucher, with similar work by Charlier and others of the French school of the middle of the eighteenth century.

Thus, in the Wallace Collection we can study at our leisure a valuable series of works by several of the best French miniature painters, some of whom are not to be found represented in any other public gallery that I am aware of, even in Paris. There is, besides, a not inconsiderable number of works by good English artists, which afford instructive means of comparison, besides being interesting in themselves. Viewing, then, the collection from the various standpoints which I have enumerated, let us see what it reveals. We may here dispense with any consideration of the pecuniary value; that is a commercial view of the subject, one difficult to determine, and foreign to the object of this book. Suffice it to say that the monetary value of many of them is very great. Take the Isabeys and Halls, for example; a miniature by the latter, shown at the Exhibition of Eighteenth Century Art in Paris in 1906, at the Bibliothèque Nationale, fetched at the Mülbacher Sale no less than 60,000 francs, or £2,400.

The collection at Hertford House is especially rich in portraits belonging to the Napoleonic period. Many of the principal personages of the First Empire may be found in case C. Thus we have Madame Letizia Ramolino, the mother of Napoleon I. – Madame Mère, as she was called; two or three portraits of Joséphine, notably one by Isabey in a Court dress of white and gold; four of Marie Louise, Archduchess of Austria and second wife of the Emperor. There is also one of her father, which bears on the back this curious inscription, "Madame, disait l'Empereur Napoléon à l'Impératrice Marie Louise, votre père n'est qu'une ganache," a term which may be very closely rendered by our English word "booby."

There are several portraits of the King of Rome, the son of Napoleon and Louise, who was living, as one is apt to forget, as late as 1832. The sisters of the Emperor, Pauline and Caroline, both are here, as are his brothers Jérome and Louis. Finally, of the Emperor himself there are over a dozen – as General Bonaparte in 1796; in Academic attire; and in Court costume, wearing in his hat the golden laurels of victory. Of this period of his career is the miniature by Isabey, in which he is wearing the Imperial robes and emblems of victory as before. This miniature by Isabey is a remarkable presentment of the man and a masterpiece of the artist. I have described these numerous Napoleonic portraits in some detail because many of them are not only remarkable as specimens of French miniature painting of the period, but they also bear out, I think, what I have said in the preceding pages as to the value of such works and the instruction they afford.

But the interest of the Wallace Collection of Miniatures is not confined to the personages who crossed the stage of French history during the First Empire. Here we may see also Louis XV. and Marie Leczinska, and two or three of their daughters, Louis XVI. and Marie Antoinette, Louis XVII. and Louis XVIII. Of the latter there are three or four portraits; of Madame de Pompadour one of exceptional beauty (No. 89), signed F. Boucher. It need hardly be said that François Boucher is not generally recognised as a miniaturist, the breadth and purely decorative nature of much of his work being as far removed as it is possible to imagine from the minute finish of a miniature. This fact, it may be, has led Mr. Claude Phillips, the Curator of the Gallery, to remark upon this example, and to surmise that it represents "a wholly exceptional effort made for his (Boucher's) patroness." Strange to say, Madame Du Barry is unrepresented; on the other hand, Mlle. Du Thé and La Camargo, the famous dancer, whom Watteau painted, will be found.

I have given this prominence to the French historical characters as compared with English or other celebrities since, from this point of view, there is no comparison to be made between the importance of the two groups. A Cooper and a Flatman of Charles II., a copy by Bone (after Lely probably), of Charles's sister-in-law, Anne Hyde; an enamel by W. Grimaldi, copied from a contemporary portrait of John Churchill, first Duke of Marlborough; Mrs. Fitzherbert, by R. Cosway; and two portraits of Wellington by Isabey may be said to sum up the most notable works coming under the category of English historical characters.

In this connection there remains, however, one miniature of such importance, if its ascription be correct, as to merit a special reference. It is No. 93 described as a portrait of Hans Holbein the Younger. It is inscribed "HH. A N O. 1543 Etatis suæ 45." The Duke of Buccleuch possesses a similar one, the only variation perceptible being a subtle difference in the expression, and that in the Montagu House example there is a little more seen of the painter's left hand. Each is on a card; that at Hertford House may be thus described: Head and bust of a man of middle age, in a black dress, open at the neck, and a black cap. He holds a pencil in his right hand and looks with a searching and rather sour expression at the spectator. The portrait is about one and a half inches circular, and has a blue background. The beard and moustache are dark and somewhat sparse, the flesh-tones flat, and inclined to brickiness in colour.

But I am disposed to consider the distinguishing feature of the Wallace Collection of Miniatures to be the number and importance of the works of Isabey and of Hall shown therein. By Jean Baptiste Isabey there are no less than twenty-seven examples, by Pierre Adolphe Hall nearly a score, by the talented J. B. Augustin, and by the comparatively little known Mansion, nine each; not to speak of Saint, Dumont, and of Sicardi. There is one specimen which the Curator apparently does not hesitate to ascribe to Fragonard, whose miniatures he justly says "are of extreme rarity." Here, then, we have a feast both rich and varied. Of the Isabeys we shall find that the most important pieces are dated between 1811 and 1831. They are treated with a breadth and freedom of handling which make them resemble water-colour sketches, but when looked at closely they will be found to have careful detail in the features, and to be miniatures strictly speaking.

The Halls are characteristic and good, the Mansions exceptionally fine. I have dealt with both these artists in the final chapter of this book.

It would be impossible to examine here the hundreds of miniatures in this collection. They deserve the closest attention, and should be carefully studied with the aid of a magnifying glass.

Having elsewhere in this volume expressed regret at the absence of any national collection of miniatures in this country, I refrain from giving utterance to disappointment again. But if there is one place more than another where such feelings are aroused it is at South Kensington. True there are miniatures there, but only in sufficient numbers and, I may say, of sufficient quality, to whet the appetite for more.

Apart from the Jones Collection, which may be dealt with separately, the miniatures in the Victoria and Albert Museum are rather disappointing, and that in spite of a few examples of interest. The National Collection preserves all its riches of art of this nature in four cases, which stand in the Sheepshanks Gallery. The catalogue has, I believe, been out of print for years, certainly there is none now obtainable, a circumstance very much to be deplored, to say the least of it. Another matter of regret is that the miniatures cannot be seen properly by the artificial light with which the galleries are provided; seeing that the museum is open until ten p.m. three or four nights in the week, many must feel it tantalising to have no catalogue, and insufficient and unsatisfactory lighting.

Taking in a rough chronological order what is there shown, we shall find a faded Queen Elizabeth or two, of the usual type, by Hilliard, and a fine Oliver of unwonted freshness and brilliancy, due, no doubt, to its having been preserved in a locket. It is dated 1619, and must therefore have been painted by Peter Oliver, as his father died two years earlier. The flesh-tones are particularly good and true to nature.

Of the Samuel Coopers, of which there are two or three examples, that of Henry, Duke of Gloucester, the brother of Charles II., is the finest and most noteworthy; it is somewhat faded, but the long, weak face and melancholy expression, which seem typical of his race, are strikingly rendered. To about this period belongs a very fine specimen of plumbago work by David Loggan; it is a portrait of Sir Greville Verney, full of life as to the character of the head, and of exquisite finish and delicacy in execution. Near this hang two examples of similar work by Thomas Forster, but of much inferior quality. They present John, first Duke of Marlborough and his imperious wife, and are dated 1712. Richard Cosway is not shown at his best, although the Earl of Carlisle is a good and characteristic specimen of his somewhat effeminate rendering of men's portraits. By his pupil, Andrew Plimer, are two very indifferent portraits of ladies, but another of a young lady (given by Miss Edmonstone Ashley) is a very charming work; the fair unknown wears a huge white chin stay, and looks at the spectator with an arch and vivacious expression. Mrs. Carruthers is a pleasing instance of J. Meyer's sound and attractive method of painting, and there are two excellent and characteristic Rosses, viz., Margaret, Duchess of Somerset and Mrs. Dalton. There is also a very good specimen of Sir W. J. Newton, an artist whose work is now perhaps somewhat underrated. In the Plumley Collection of Enamels, shown in the same gallery, are some examples of Essex which may please lovers of animals, and a number of Bone's copies, which, skilful as they are, considering the scale on which they are done and the difficulty in doing them, yet leave a good deal to be desired when compared with the originals. A word may be said as to the Barbor jewel which hangs in one of these cases, and is reproduced in this book. It was made for a Mr. Barbor to commemorate his deliverance from the stake in the reign of Mary Tudor by the timely death of that sovereign just at the time fixed for his execution. It is cut in a fine Oriental onyx, mounted in gold and enamelled, and was bequeathed to the Museum by the Rev. E. E. Blencowe.

There are four small cases of miniatures pertaining to the Dyce Collection which contain a few Coopers, and, notably, a portrait of the artist himself, of which last an illustration is given. The pocket-book and its contents attributed to Cooper I have already referred to in Chapter VII. Some of these are thoroughly characteristic; others, in their smoothness and in the nature of their colouring, are quite unlike Cooper's ordinary manner; whilst in one instance at least the drawing is so bad as to make one sceptical of its being the work of such an artist as Samuel Cooper at all. Take for example the portrait labelled Miss Pru Fillips (sic), or Mrs. Rosse, or Mrs. Priestman. On the other hand, the preparatory sketches for the Duchess of Cleveland and Mrs. Munday, and, above all, the Catherine of Braganza strike one as being not only the work of the master but also as especially characteristic. There is a very good Flatman in this collection, a portrait of himself; there are also a number of miniatures in oil on copper which, like most works of this nature, fail to interest us very much; owing to their scale they have necessarily nothing of the impressiveness of an oil portrait, whilst as miniatures they lack delicacy and charm.

As the Isabeys and Halls strike the dominant note of the Wallace Collection of miniatures, so do the enamels by Petitot that of the Jones Collection at the Victoria and Albert Museum. There are at Kensington no less than 56 pieces attributed to Jean Petitot, besides two others ascribed to Petitot the Younger.

I shall not re-enter upon a criticism of the great Genevese enameller and his marvellous art, with its distinctive character, further than to repeat that for minute delicacy, perfection of drawing, and colouring it has never been excelled. I am speaking of course, of genuine work by Petitot, for he has had numberless imitators and copyists.

Upon examining the index of painters which is subjoined to this chapter it will be seen that many of the names we have been discussing occur therein, but the Jones Collection cannot be said to be a representative one. There are but three or four Coopers, one each by Hilliard and Hoskins, Zincke and Boit have five between them; there are three attributed to Peter Oliver, and the like number to Isaac. In the case of the last named, however, we have a chef d'[oe]uvre in the shape of the portrait of the Earl of Dorset already described in Chapter VI. By Bernard Lens also we have an important example, namely, the full length of Sarah Jennings, Duchess of Marlborough, in the blue robe affected by artists of the period.

But it is the Petitots which in the eyes of students should give such especial value to this collection, for nowhere else, so far as I have seen or heard, can the like be found, certainly not at the Louvre. Having previously enlarged fully upon the exquisite art of which Jean Petitot was the greatest exponent, I need not recapitulate the charm which attaches to these gems of miniature painting nor the difficulties attending their production. But I have been at the pains to arrange the Jones Collection alphabetically under painters and personages, to facilitate reference. By the aid of this analysis I trust my readers will be enabled to judge for themselves what there is to see at Kensington in this way, and, if they have a genuine interest in the subject, they may find the study of the collection facilitated by this key to its contents.

CHAPTER XIV

THE FRENCH SCHOOL

A study of French miniature painters has led the present writer to place their work on a higher level than has heretofore, perhaps, been generally assigned to it, and has shown him that there have been not a few but many French miniaturists of remarkable excellence, and that they practised their art during a period which we are accustomed to look upon as one of anarchy, of tumult, and of bloodshed; a fact which is not only interesting in itself, but has the advantage of throwing light upon the period also; on its life, and on the men and women who played prominent parts during that eventful period of modern history, for we find ample evidence that even during the Terror itself the miniature painter was busy at work. In this respect, as in many others, a recent exhibition of eighteenth century French Art, at the Bibliothèque Nationale in Paris, revealed much. Indeed, it may be said that it was the most noteworthy event in connection with miniatures, and the claims they have upon the notice of students of art, of manners, and of costume, which has taken place for years.

It was recognised as a revelation by the learned authorities of the French national library, who were responsible for its arrangement, foremost amongst whom stood the late lamented Henri Bouchot, "Directeur du département des Estampes," a gentleman to whose courtesy I have been personally indebted, and whose critical acumen was well known.

It was, they said, a revelation; they spoke of it in relation to its technical aspects more particularly. It brought to light a number of French miniature painters whose ability was amply demonstrated, but who were almost or quite unknown at the present day, even to their own countrymen.

But the personality of these miniature painters and the remarkable people who sat to them must not make us ignore some earlier men to whom I shall now briefly refer.

In the first place I may call attention to the fact that, as might be expected, a comparison between French painters-in-little and those of Great Britain reveals some interesting differences, both technically and in respect of the treatment of the subject. The latter differences, which spring from national characteristics, will, I think, be brought out as we come to deal with the work of the various artists, and I shall not stop to enlarge upon them now.

At a time when we could boast in England of no native artist of importance – hardly one, indeed, can be named, for Nicholas Hilliard was not born until the middle of the sixteenth century – there was working in France a family of artists known as the Clouets, who produced portraiture of great excellence. What I have termed elsewhere the tangled skein of the history of the Clouets would take a great deal of unravelling. It is a subject to which foreign critics of eminence have devoted much time and trouble. Without following all their researches in detail, or professing to utter anything like the last word upon an obscure and difficult subject, it may be said to have been proved that the family was undoubtedly of Flemish extraction, and that they were firmly established at the French Court at the beginning of the sixteenth century. M. Laborde, in his "Renaissance des Arts à la Cour de France," quotes a deed of gift of property which had escheated to the Crown dated 1516, the second year of the reign of François I., which shows that, at any rate, by that time the Clouets were established in Royal favour.

The surname was probably originally Clouwet, and two members of the family, father and son, have been commonly known as Janet. This duplication of names, to say nothing of the varieties of spelling, has led to a good deal of confusion in the attribution of works by these artists. Among the latest authorities upon this subject I may quote my friend M. Dimier, of Paris, who contributed a chapter to my book on the portraiture of Mary Queen of Scots.4

The subject has a significance of its own for French art critics as throwing light upon the influences exerted upon French artists at the period of the Renaissance – that is to say, whether the work by the men of that time which has come down to us owes its highest artistic qualities to Italian influence, to native genius, or to Flemish influence. Critics are divided into two camps: those who stoutly maintain the claims of the French artists to originality, and those who are equally confident that it is to Italian influence we owe all that is most attractive in French art of that period. M. Dimier has acutely pointed out that whilst the Italian influence theory is anathema to many, these same critics allow the assertion of Flemish influence to pass without a protest.

Be all this as it may, it is quite clear that the vogue for portraiture in France at the beginning of the sixteenth century was extraordinary. Contemporary inventories show that drawings by the thousand must have existed. They were kept in albums in the houses of the great, and many collections are known. Catherine de Medici loved to have her children painted, and M. Bonafflé has shown that her estate included more than a hundred such portraits. There are numbers of these to be seen to-day at Chantilly, the old home of the Condés, not the least interesting of which is a series of eighty or ninety drawings in black and red chalk that once belonged to the Earl of Carlisle and formed part of the famous Castle Howard Collection.