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diedin 1785, aged 21, wereremarkably good, and painted in a peculiar 
manner, the medium employed being wet crayon. The lecturer 
alsospoke of the work of Charles Sheriff, a deaf and dumb artist, who. 
painted Mrs. Siddons here, and said how interesting it would be 
to compare that version of Mrs. Siddon’s stately beauty with the 
portrait drawn about the same time by Sir Thomas Lawrence, 
who was then as a boy producing small portraits in Bath. The 
difficulty of tracing the work of some miniaturists was alluded to, 
many artists being recorded in Bath books whose portraits are 
quite unknown, and the converse instance was also given of Sir 
Walter Scott, who as a boy had his portrait painted in Bath, in 
1777, though the artist’s name was unrecorded ; and the lecturer 
alluded as well to the miniature he showed, by Browning, Bath, 
1820, stating that all his endeavours to trace any particulars of 
the artist had been vain. The miniaturists who worked here 
fell perhaps into two classes, the one including those who like 
Collins and Humphrey were only temporary residents, the other 
comprising those who made Bath their permanent home. Among 
these last were Roche and Hutchisson, whose interesting portrait 
of the composer Rauzzini was shown, and many others of merit, 
such as Abraham Daniell, the producer of reserved and dignified 
work, and Charles Jagger, who at his best painted portraits in a 
strong yet delicate fashion that was beyond praise. Succeeding 
to these was Scovell, an able draughtsman, and Charles Ford, 
whose carefully drawn and richly coloured work was well 
represented on the table, and whose reputation should not be 
allowed to die out. The portraits of Charles Foote Tayler, 
almost the last of Bath miniaturists, were best described in one. 
word as brilliant, and the examples shown confirmed the lecturer’s. 
opinion. After an allusion to the dainty work of Mrs. Harbutt, 
the lecturer concluded by expressing the hope that his paper 
might be the means of bringing to light other particulars in this 
most interesting and little known section of the larger field of 
Bath art. 
