(Duke of Norfolk.)
JOHN BETTES.
EDMOND BUTTS.
(National Gallery.)
The art of which this incomparable miniaturist was such a great exponent was peculiarly adapted to a form of patronage much in vogue at that time; that is to say, it was employed in the adornment of costly and exquisite snuff-boxes. These boites aux portraits, as they were called, were extensively used for diplomatic purposes, and portraits of the Grand Monarque were ordered by the dozen at a time. The presentation of boxes of such a character with a portrait on, or inside, the lid, with or without a setting of brilliants, as the rank and importance, or otherwise, of the fortunate recipient required, were part of the ceremonial usage and Court etiquette of the day. The Collection left to South Kensington by Mr. Gardiner, the extremely choice examples in the Wallace Collection, and the still larger collection left by the Lenoirs to the Louvre, show the extravagant pitch to which work of this kind was carried, the diamond settings alone often running to a cost of many thousands of francs. For example, a portrait of Louis XVI., when Dauphin, was presented to Marie Antoinette. The portrait was painted by the most eminent miniature painter of his day, namely Pierre Adolphe Hall; the artist received 2,684 francs, and the cost of the box and brilliants was over 75,000 francs.
Petitot may be studied to full advantage at the Jones Collection, even better than at the Louvre, whilst at Hertford House there are only a couple of examples attributed to him. In private collections there are some notable works which passed from Strawberry Hill into the possession of the late Baroness Burdett Coutts; and the Earl of Dartrey also owns a number. The portrait, shown in this book, of Petitot le Vieux, is from this nobleman's collection, which, by the way, is also rich in examples by the brothers Hurter. These two enamellers came from Schaffhausen, being introduced to the British aristocracy by the Lord Dartrey of that day. Some thirty examples of their work were shown at the Loan Exhibition at South Kensington in 1865 by the then Lord Cremorne. At Althorp is a portrait of the beautiful Duchess of Devonshire by John Henry Hurter; and Lord Dartrey has a portrait of Queen Charlotte painted by J. F. C. Hurter.
HANS HOLBEIN THE YOUNGER.
| HENRY BRANDON. (H.M. the King.) | HIMSELF. (From a drawing at Basle.) | CHARLES BRANDON. (H.M. the King.) |
We now pass on to consider the art of painting portraits in enamel as practised in this country. The first name of any importance in this connection is that of Charles Boit, a native of Stockholm, but of French extraction. He was born in 1663, and when he was about twenty came to this country and worked as a jeweller. Being unable to succeed in that occupation, he turned drawing-master, and Walpole tells us of an intrigue which led to his being thrown into prison for two years, time which he is said to have turned to advantage by practising enamel painting, though how that could have been done under such circumstances I do not know. Ultimately he became celebrated for his work, and obtained high prices for it He attempted pieces on a large scale, the difficulties of which are enormously enhanced by their size, as is well known to craftsmen. One was intended for Queen Anne, and the artist is said to have received a thousand pounds advance on it, but before he succeeded in firing it some £700 or £800 were spent, which led him into such difficulties that he escaped to France, where he died, about 1726.