The Exhibition of Miniatures at South Kensington. 171 



queathed it to Mr. Eicliard Burke, who left it to Frances 

 Lady Crewe, from whom it descended to her grand- daughter, 

 the present Lady Houghton/' 



Richard Cromwell, 1649, by the same, exhibits a long, pale, 

 hatchet-face. — The miniature by Hoskins, jun., 1659, together 

 with one of Ireton, and an enamel of Oliver Cromwell, were the 

 property of Bridget Cromwell (Mrs. Ireton), and afterwards of 

 Elizabeth Ireton (Mrs. Polhill) : the three have ever since re- 

 mained in the possession of her lineal descendants. There is 

 a curious look in Richard's face — or else one fancies it — of 

 being the fool of the family. — S. Cooper, 1647, gives the 

 sitter a thoughtful but ineffectual look. 



Elizabeth Clay pole, Cromwell's favourite daughter, by the 

 same, 1653, is finely done, but rather deficient in corporal 

 development. — A profile by the same, pencil, is rather a poor 

 version of the face. 



Mary, Countess of Falconberg, third daughter of Oliver 

 Cromwell, by the same, a handsome woman, is a fine specimen 

 of the painter. 



Bridget Ireton, Cromwell's daughter, 1652, is also by the 

 same. 



General Ireton, 1649, by the same, shows a fine face, not 

 wholly unlike that of Gaston de Foix. 



General Charles Fleetwood, the second husband of Bridget 

 Cromwell, 1656, is again by the same. 



Sir Harry Vane the Younger, oil, has a strong, handsome 

 face, worthy of the man. 



Charles II, by Loggan, pencil, is one of the most interest- 

 ing versions of the grim visage of the " Merry Monarch," 

 showing some true family likeness to both his father and his 

 mother. — S. Cooper's portrait, 1665, with the mantle and 

 collar of the Order of the Garter, is large and rather unfinished, 

 but very able. — Loggan's in black lead, "probably the ori- 

 ginal drawing from which Loggan engraved the published 

 portrait," is also excellent. — No. 2082, Charles II. when young, 

 painter anonymous, and No. 1014, catalogued simply as "Por- 

 trait of a gentleman," are duplicates. 



Catharine of Braganza, Queen of Charles II., if her minia- 

 ture is a true record of the neglected queen, looked of as 

 easy virtue, and displayed her charms with as much liberality, 

 as any of the beauties who competed for her husband's at- 

 tentions. 



James II. as Diike of York, by Petitot, is an enamel, very 

 complete and actual. Here we find a true historic style in the 

 very smallest dimensions. 



Jacob Sail, the rope-dancer and comedian in the reign of 

 Charles II., oil, must have been an exceedingly handsome 



