178 The Exhibition of Miniatures at South Kensington. 



Percy Bysshe Shelley, by Easton, "from the original in oil 

 by Miss Curran, painted in Rome, 1819, now at Boxconibe," 

 is the well-known version — almost the only one extant, 

 we believe — of the divine face of this most divine poet and 

 man. Shelley was twenty-six years of age in 1819, whereas 

 this looks more like eighteen; bnt his extreme jnvenility of 

 aspect is attested from many quarters. 



Alfred Tennyson, about twenty, by Miss Dixon, is the 

 portrait engraved in Home's " New Spirit of the Age." It 

 can scarcely be supposed to do justice to the early youth of so 

 noble a face as Tennyson's, but it is none the less of consider- 

 able interest. 



PAINTERS. 



Michael Angelo and Giulio Romano, by Sebastian del 

 Piombo, oil, is a very fine work. Michael Angelo is repre- 

 sented at the age of about fifty ; his countenance very Italian 

 in type and somewhat haggard, his hair black, just beginning 

 to grizzle. Giulio Romano, who was thirty-two when Michael 

 Angelo was fifty, here looks nearer forty, and the head does 

 not strike us as much, like other known portraits of the 

 painter. 



Jacopo Tintoretto, by him self. Oil, on copper. This capital 

 portrait represents the great painter evidently at a very early 

 age, hardly perhaps past fifteen. If really a portrait of Tinto- 

 retto, it is singularly interesting ; we should like to know 

 whether there is any clear authentication of it forthcoming. 



Holbein, by himself, oil, is an interesting portrait, at about 

 tlie age of thirty-two, with, a direct discerning look. 



Nicholas Hilliard's portrait has been copied by G. P. Har- 

 ding, from the original by Hilliard, in the collection of Lord 

 de l'Isle and Dudley. The admirable miniature-painter appears 

 from this record to have had the handsome and courtly aspect 

 so well appreciated by his sovereign mistress Queen Elizabeth ; 

 there is a true touch of the artist as well. 



Velasquez, by himself, oil on copper, presents a splendid 

 record of the thin long face of this great master. 



Rembrandt, by himself, oil, is a clever portrait of very 

 early youth, hardly pei^haps exceeding the age of sixteen. 



Samuel Palmer, 1829, by George Richmond. The admirers 

 of the poetical landscapes of this water-colour painter will be 

 pleased to see so handsome and troubadour-like a head of him 

 in his youthful prime. 



u Portraits" (No. 3080)— the Artist and his Wife, by 

 Wells, shows, with great typical completeness, the highest 

 development of subject, scale, and execution to which minia- 

 ture art had attained in the final years of its prosperity : many 



