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At no time, and in no case, was Scott of the order of the careful, anxious miniaturists of work, who repaint every stroke a hundred times, adjust every detail of composition over and over again, and can never have done with rehandling and perfecting.
From the time of the first great genius to that of the next, exactly a century later, there is hardly a portrait in existence that is valued for anything but its historic or personal interest. Between Holbein and Van Dyck is a great gap, in which the only names of Englishmen are those of the miniaturists, Hilliard and Oliver, who were veritably of the seed of Holbein, but only in little.
These private zoological gardens may possibly account for the comparative accuracy with which the early miniaturists painted such beasts as lions, bears, and leopards, which otherwise they might have had no chance of studying. One of the greatest delights of the garden was the bower in which the warm months were passed. Here meals were taken, and merry pastimes enjoyed, as long as daylight lasted.
This miniaturist is well known by her works, in which so much grace, freshness, skill, and delicacy are shown; in which are represented such charming subjects with purity of tone and skilful execution in all regards, as well as with an incomparable spirit of attractiveness. This artist is one of the three miniaturists whose works have a place in the Museum of the Luxembourg.
A miniaturist whose works are much esteemed. Her work is life-like, artistic, and strong in drawing, color, and composition. After finishing her study under masters she took up miniature painting by herself, studying the works of old miniaturists. Recently she writes me: "I have departed from the ordinary portrait miniature, and am now painting what I call picture miniatures.
At this period, in the countries we may speak of collectively as German, women artists were numerous. Many were miniaturists, some of whom were invited to the English Court and received with honor. In 1521 Albert Dürer was astonished at the number of women artists in different parts of what, for conciseness, we may call Germany.
Her first picture, called 'Un Regard Fugitif, won for her a medal of the third class." <b>GREY, MRS. EDITH F.</b> Member of the Society of Miniaturists, Royal Institute of Painters in Water-Colors, Bewick Club, and Northumbrian Art Institute, Newcastle-on-Tyne. Born at the last-named place, where she also made her studies in the Newcastle School of Art, and later under private masters in London.
Anna" in the church at Monticelli d'Ongina. This artist was also famous for her beautiful embroidery, as seen in her altar-cloths, one of which is in the Guastafredda Chapel at Piacenza. The fruits and flowers produced by her needle are marvellously like those in her pictures. <b>MASSEY, MRS. GERTRUDE.</b> Member of the Society of Miniaturists. Born in London, 1868.
Affectionate, slow with the Dutch slowness praised by Rodin and tenacious, he set out to conquer a small corner in the kingdom of art, and to-day he is first among the Little Masters. This too convenient appellation must not class him with such myopic miniaturists as Meissonier.
It is quite possible that this may be either a conventional setting, or one due to the imagination of the artist, but as the miniaturists of those days were, as far as they could be, realists, it is more than possible that we here see her represented at work in her favourite nook in the Louvre library, together with the favourite dog who shared her lonely hours.
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