At present all good judges agree that, in spite of the number of those who are practising as miniature painters, the standard reached is most disappointing. The reason for this unsatisfactory state of affairs I shall leave my readers to determine for themselves, for I may be told that in talking about old miniatures it is no concern of mine to point out, and still less to dwell upon, the merits or otherwise of recent examples. Nevertheless, as one who has studied the subject somewhat closely for many years, I may be allowed to express the conviction that the deficiencies so painfully apparent in modern work are mainly due to the want of thorough artistic training.

Miniature painting is too often taken up much as ladies take up some new kind of "fancy-work" (as they term it). Want of success—due to lack of knowledge and lack of experience—soon leads to discouragement. Thus the persistent practice which led to success in other days is wanting, and the artist's powers never reach their full development. If this be true, and I think it is, the remedy for it, as far as the artists are concerned, may be found in more careful training and in patient devotion to work.

But then, the public who employ them must play their part. They must show greater refinement of taste, and learn to discriminate; to reject what is bad or indifferent, and realise that good work cannot be cheap work, that it demands and is entitled to adequate remuneration.

It should be the task of each successive generation to see that the art of miniature painting is encouraged. Miniatures must be taken seriously, not regarded as mere bric-à-brac or trifles. I repeat, we must insist upon a high standard. We have a goodly heritage of beautiful work of unique historical value handed down to us, and it is a duty to perpetuate this series, so that the "fair women and brave men" of our own days shall not go unrepresented; and thus shall we add our share to the treasures of our national art and earn the gratitude of posterity.

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