Charles, and a great chymist, communicated to them the process of the principal colours which ought to be employed in enamel, and which surpassed the famous vitrifications of Limoges and Venice, where the art of enamelling was anciently practised to a great extent, but was solely applied to goldsmiths' work. Mayerne introduced Petitot to the king, who knighted him, and gave him an apartment at Whitehall. None of his English portraits are known to be later than 1642. One of these is a magnificent whole-length of Rachel de Rouvigny, Countess of Southampton, in the collection of the Duke of Devonshire. Another, in the same collection, is a head of the Duke of Buckingham, dated 1640; consequently, a copy painted after the duke's death. After the execution of his royal patron, Petitot retreated to France, and was introduced by Charles II. to Louis, who rętained Petitot in his own service, gave him a pension, and lodged him in the Louvre. In 1651, he married Margaret Cuper. After the revocation of the edict of Nantes, Petitot, as a zealous Protestant, requested permission to retire to Geneva. But Louis, desirous of retaining the celebrated enameller in his service, employed, but without success, Bossuet to convert him. Petitot, in 1685, escaped with his wife to Geneva; and, though now nearly fourscore, continued his darling profession. His high reputation procured him the patronage of the King and Queen of Poland, whose portraits he copied in enamel. He died in 1691, at the age of fourscore and four, leaving seventeen children, one of whom, a daughter, was living in 1752. In the catalogue of the royal collection at Paris, in 1824, are enumerated, with a particular description, forty-three enamelled portraits by Petitot.

In the fifth panel—A sweet half-length of a boy, in muslin drapery, with wings, and finger pointed to heaven.

In the sixth panel—A girl, similarly attired and winged. In the seventh panel-Robert Dudley, Earl of Leicester; Queen Elizabeth; a Lady, "anno domini 1572, ætatis suæ 20;" a Gentleman, "ætatis suæ 24, A. D. 1612."

In the eighth panel-Knee-piece of the late Duchess, inserting a rose in her belt, by Stewart; Katharine, first wife of John, second Duke of Rutland, in water colours;

John, the first Duke of Rutland, in water colours, by J. H.; Head of Lord Robert Manners, captain of the Resolution, from Dance, in water colours, by Cosway; the late Dowager Duchess of Rutland, 1782, in water colours, by Cosway.

RICHARD COSWAY was born in the year 1740, at Tiverton, in Devonshire. His father was master of the public school; and the family, originally Flemish, owned considerable property in the neighbourhood. The connexion of the family with Flanders, and a taste for works of art, which it seems some of the elder Cosways possessed, had brought various pictures of the Flemish school, among the rest, two from the hand of Rubens, to Tiverton; and it is alleged, that the sight of these awoke a love for painting in the mind of Richard, which at first met with but little sympathy at his father's fireside. A judicious appreciation of dawning talent, on the part of his uncle and a friend, was eventually the means of his being placed, first under Hudson, and then under Shipley, who kept a drawing school in the Strand. He soon acquired great celebrity, and considerable profit, from miniature painting; in which he had the art of communicating beauty, which did not exist in the original, and yet preserving a likeness. His affectation in dress, and an expensive establishment, procured him a notoriety, of which his brethren took advantage, and gratified their spleen, while they filled their pockets, by caricaturing him, as the "Maccaroni Miniature Painter." His expensive absurdities did not, however, interfere with an assiduous application of his talents; and his rising reputation procured him, in 1771, the honour of being elected a Royal Academician, and the familiar notice of the Prince of Wales, afterwards George IV. At this period, he married Maria Hadfield, a young lady of talent and beauty, whom he carefully instructed in his own art; and with such success, that she was pointed out as the lady, who had painted some of the most lovely miniatures in the Royal Academy exhibition. The united accomplishments of Cosway and his wife procured them the doubtful advantage of being on intimate terms with several persons of rank in short, as Allan Cunningham (from whose account this sketch is abridged) says, "all the lions of London came to their house, to see and be seen." The ill-health of his wife

induced him to take her to Flanders, and to Paris. After his return to England, his sympathy with the French Revolution lost him the friendship of the Prince of Wales. He died in July, 1821, aged eighty-one years; his latter years being passed in pain, bodily and mental; a paralytic stroke having deprived him of the use of his right hand, and with it cut off one chief source of pleasure, the power of drawing. His execution was rapid; he often finished miniatures at three sittings, of half an hour each. His knowledge of the human figure was equal, or superior to that of most of his contemporaries; and he considered it a beauty in his compositions, that they resembled more the deep sober hue of Italian painting, than the gaudy glow of that of England.

In the ninth panel-The present Duke (knee-piece); Lady Grace Manners, in water colours, by Cooper; John, the eighth Earl of Rutland, 1656, by Cooper; John, Marquis of Granby, in enamel, by Liotard; Bridget, third Duchess of Rutland, in enamel, by Zincke.

In the tenth panel-Adoration of the Shepherds, in oil, upon stone; the Judgment of Paris, in enamel; Charles, Duke of Somerset, in enamel, by Petitot; another, dated 1656, by J. Hoskins; Head of a Lady, set in tortoiseshell.

Of JOHN HOSKINS, an eminent painter of portraits in miniature, very little is known. He was patronised by Charles I., whose portrait, as well as those of the Queen and most of the court, he painted. Charles had nine of Hoskins's miniatures, his best works, some of which were copies from Holbein and Van Dyck. At Burleigh is a portrait by this master, of David Cecil, son of John, fourth Earl of Exeter, by Frances, daughter of the Earl of Rutland: it is dated 1644. The works of Hoskins have generally the initials "I. H." In the heads painted by Hoskins, there is a great character of nature and truth; but the carnations want variety of tints, and appear too much of a brick colour. He had the merit of forming two excellent scholars, Alexander and Samuel Cooper, the latter of whom became much more eminent. Hoskins was buried in the church of Covent-garden, Feb. 22, 1664.

In the eleventh panel, is a sweet miniature of two Children.

In the twelfth panel-A child; a Countess of Rutland; the second Lord Granby of the present generation, as an infant, born Aug. 20, 1813.

In the thirteenth panel-The present Duke, as a child, from Reynolds; Lord Robert Manners; William Herbert, Earl of Pembroke, by Oliver; Mary Isabella, Duchess of Rutland; Lady Frances Cecil, Countess of Cumberland, by John Hoskins.

PETER OLIVER, the son and disciple of Isaac, his father, a successful painter of portraits in miniature, of the most distinguished personages of his time, was born in 1601; and, though so young at the time of his father's death, in 1617, he had so well profited by his instruction and example, that he attained a degree of perfection in miniature portrait painting, indisputably superior to his father, or to any of his contemporaries, especially as he did not confine his subjects to a head only. He likewise painted historical pictures, nineteen of which were in the collection of Charles I. and James II. Seven of these are still preserved in Queen Caroline's closet at Kensington. There is at Burleigh, the seat of the Marquis of Exeter, an admirable copy of the Venus and Adonis by Titian, in water colours, by Peter Oliver, dated 1631; and a valuable collection of portraits in miniature, by the same artist, of the Digby family, purchased by Walpole, and bequeathed, with the other treasures of art at Strawberry-hill, to the Earl of Waldegrave. Peter Oliver died in 1664, and was buried with his father, in the Blackfriars.

In the fourteenth panel-The late Duchess Dowager, when quite a young woman (knee-piece); three Children, two in one miniature, and one singly, daughters of the late Earl of Carlisle; two Heads of Ladies.

In the fifteenth panel-A Lady (knee-piece); Henry Percy, Earl of Northumberland, 1585, a copy by John Hoskins; one male and two female Heads.

In the sixteenth panel-Cupid with a butterfly (Psyche).

The door opposite the entrance to the Elizabeth Saloon communicates with the

GRAND DINING ROOM,

a magnificent apartment, occupying the space (with the exception of the short portion of the gallery at this end of the corridor) from the Elizabeth Saloon to the north-east tower. It is 55 feet long, 31 feet wide, and 19 feet high. If there is a fault in its proportions, it is, that there is scarcely sufficient height; a deficiency that is the more observable, from the circumstance of the ceiling being formed of deep panels and ribs, the former being filled with flowers of various character, in high relief. Notwithstanding its great length and breadth, comfort appears well amalgamated with magnificence. Thirty persons are the ordinary number seated at the table; but there is evidently sufficient space for an elongation of the tables, so as to accommodate from ten to twenty more. It is lighted by four spacious windows, with an aspect towards the stables at the bottom of the hill: which stables, by the way, will in a few years' time be invisible from the Castle, his Grace having ordered a plantation on the lowest terrace, as a At each end of the room there is a shallow recess with circular arch, bounded by broad pilasters of Derbyshire marble, and filled with plate glass, from the ceiling to the slab of the sideboard placed in it. Three similar recesses, with sideboards, are on that side of the room, which faces the windows. On this side are also two fire-places, with chimney-pieces of statuary marble, sculptured in an appropriate manner, and in the first style of the art. The frieze is decorated with two thyrsi meeting in a horizontal direction on a bowl. The supporters on each side are Egyptian Bacchi. Between the windows are deep

screen.