1 70 The Exhibition of Miniatures at South Kensington. 



nance, not such as one would be inclined to associate with her 

 criminal career. She certainly, however, does not look as if 

 opposition to her will would be very tolerantly received. — I. 

 Oliver gives a face not wholly unlike that of Arabella Stuart, 

 with a coquettish air, and broader. 



Of Charles I., one portrait, " formed of the King's hair 

 dipped in his blood on the scaffold, belonged to John Winckley, 

 who was executed at Lancaster Castle in 1716, with the Earl 

 of Derwentwater, for the Jacobite rising of 1715/^ — Another, 

 by Snelling, 1647, drawn with the brush on paper, is very 

 careful and agreeable. — In Charles when young, by P. Oliver, 

 it is difficult to trace the countenance so unmistakeable in 

 after years. — Another portrait (painter anonymous), oil on 

 copper, is a record of the king's later days, showing forcibly 

 the points of resemblance to his father James I., and not much 

 more noble-looking than that monarch. " It is said that, for 

 some months before his death, the king refused to allow his 

 beard to be cut. On the other side of the frame is a portrait of 

 Bishop Juxon, his faithful servant and attendant upon the 

 scaffold." 



Venetia Lady Digby, 1633, by P. Oliver, after Van- 

 dyck. " Eepresented as she was found dead in her bed. She 

 is mentioned by Lord Clarendon as ' of an extraordinary 

 beauty and as extraordinary fame/ " 



Old Parr, by Professor Way, of Stockholm (so marked by 

 Mr. Crofton Croker) . Copper. We know not in which of his 

 152 years this portrait of Old Parr may have been painted; he 

 looks old enough to be some way past 100. 



Oliver Cromwell, after S. Cooper, enamel, was a present 

 made to Bridget Cromwell on her marriage with Iretonin 1646, 

 and worn by her as a clasp to a bracelet ; it is somewhat 

 damaged in surface. — In the portrait by S. Cooper, 1657, the 

 face has a striking expression of honesty, though the miniature 

 is not one of Cooper's very best. — By the same, full-face to the 

 right, is an important specimen, but also not of the painter's 

 best. — Loggan's pencil likeness has a victorious look, yet some- 

 what " groggy," if so irreverent a term may be applied to any 

 likeness of the hero. — In the " Profile drawing in pen and 

 brown, tinted, by S. Cooper, from which Houbraken engraved 

 his portrait" (paper), the expression is mild, possibly too much 

 so, but it is a valuable likeness. — In No. 1472, by the same, 

 the age is apparently about thirty-five ; the face longer and 

 thinner, and the nose more nearly straight than in most por- 

 traits. — No. 1873, painter anonymous, is a very small and 

 clever miniature, giving a somewhat exceptional version of the 

 face. — Another, in profile, by S. Cooper, " was sold by the Lady 

 Cornwallis to Sir Joshua Reynolds for 100 guineas. He be- 



