French.—What is your opinion of the portrait of Louis XVIII., by Gerard?
English.—It seems to have been painted after dinner, and as if his Majesty was uneasy in his seat—the boots might have been spared.
French.—We have a picture by one of your compatriots—the Chevalier Lawrence—
English.—Yes, the portrait of a Lady, in the next room. It was accounted one of the best portraits in our Somerset-house Exhibition last summer.
French.—But there is a portrait of a French Lady, placed as a companion to it, by Horace Vernet, which is thought better.
English.—I have no doubt. But I believe, in England, the preference would be given the contrary way.
French.—May I ask on what ground, Sir?
English.—Let me ask, did you ever happen to sit to have a cast of your head taken? Because I conceive that precisely the same heated, smooth, oily, close, stifling feeling that one’s face has just before the mask is taken off, is that which is conveyed by the texture and look of a finished French portrait, generally speaking, and by this in particular. I like the Head of a Lady, by Guerin (838), on the opposite side of the room, better. It is clear, cold, blue and white, with an airy attitude, and firm drawing. There is no attempt to smother one with dingy flesh rouged over.
French.—But have you seen our miniatures? The English miniatures, I imagine, are not good.
English.—At least, we have a good many of them. I know an English critic, who would at least count you up thirty eminent English miniature-painters at a breath,—all first-rate geniuses; so differently do we view these things on different sides of the Channel! In truth, all miniatures must be much alike. There can be no such thing as an English miniature, that is, as a coarse, slovenly daub in little. We finish when we cannot help it. We do not volunteer a host of graces, like you; but we can make a virtue of necessity. There was a Mr. Hayter, who painted resplendent miniatures, perfect mirrors of the highest heaven of beauty; but he preferred the English liberty of sign-post painting in oil. I observe among your miniatures several enamels and copies from the Old Masters in the Louvre. Has not the coming to them the effect of looking through a window? What a breadth, what a clearness, what a solidity? How do you account for this superiority? I do not say this invidiously, for I confess it is the same, whenever copies are introduced by stealth in our English Exhibition.