Another artist who clearly enjoyed the French Imperial patronage was C. Chatillon, as is shown by the beautiful portrait of Napoleon in his coronation robe and wearing the laurel wreath of victory, which adorns this volume. The original is in the collection of his Grace the Duke of Wellington.
Daniel Saint was an excellent artist, though not, perhaps, of the first rank; there are several examples of his work in the Wallace Collection, and he may be regarded as the successor of Augustin and Dumont.
Lastly, I may mention J. Mansion, who painted many charming portraits of the period of the Restoration, as may be seen at Hertford House. He was associated with the Sèvres factory, but his quality as a portrait painter is amply vindicated in the Wallace Collection. His work was probably largely influenced by Isabey, whose style it closely resembles.
[CONCLUSION]
The practice of the art of Miniature Painting has now been traced through several centuries, from its origin in the cloister, to its enthronement on the hearth and place of honour in mid-Victorian homes.
These pages will have been written to little purpose if they have not amply demonstrated the truth of what Dr. Johnson has finely said of the art, namely, that it is "so valuable in diffusing friendship, in reviving tenderness, in awakening the affections of the absent, and continuing the presence of the dead."
I have quoted these words elsewhere; but none that I am acquainted with so aptly express the personal interest pertaining to miniatures, which strikes a deep and vibrant note, one which, when joined to exquisite work, as we have seen it to be in the case of so many examples of the older masters, lends an indefinable charm to miniatures, and makes them amongst the most cherished of human possessions.
Thus much, then, as regards the past. The future progress of this fascinating art it will be for others to chronicle, if, and when, it regains an importance which warrants a record.