International studio (60.1916/1917)

The Buccleuch Miniatures

The buccleuch minia-
tures AT THE VICTORIA
AND ALBERT MUSEUM. BY
T. MARTIN WOOD.
If any collection of works of art makes it clear,
by contrast, that the dispersions of great collections
are disasters, it is that of the Buccleuch miniatures.
The comprehensive character of such a collection
gives it great educational value. Apart from
the history of the art of the Miniature which it
unfolds, the exhibition of such a collection may
well prove in the end to have a far-reaching
influence in correcting the modern aspect and
practice of the art. It will not be denied, I think,
that to-day miniature-painting shows less inspira-
tion than any other art that we practise upon the
same principles as our ancestors. This art always
seems to stand hat in hand to the camera, with
no conceit of its own, and with apology on its
tongue for its desire to continue to exist.
The art of the miniature

The greatest of the miniature-painters is perhaps
after all Nicholas Hilliard. He intoxicates us by
his design, by a sense of pattern that is as lively
and delicate as any master ever showed. And
that he should build it all up on the subject of
costume does not make it any less profound. The
sea is not a more profound thing than a lace frill
if it has not given the artist more pleasure. When
an artist has represented the beauty in anything,
he has reflected that part of the thing which is
immortal while a reflection of it can be preserved.
When a work of art falls in the esteem of posterity
it falls by the weight of what was never beauty in it.
When Miniature engaged itself to the work of
portraiture, it became so absorbed in the pure repre-
sentation of character that everything else fell away
from it, the gay vistas behind the figures which
the Elizabethan miniaturist introduced, with other
fairy things. And in giving up the portrayal of cos-
tume, with every elaboration of ornament of gold ;
in concentrating only on the character of the

portrait is bounded on one
side by that of the illumi-
nated missal, and on the
other by photography, but
it is only collaterally related
to these. It is in its true
descent the art of Illustra-
tion, and is never to be
rightly understood except in
that light. Decorated letter-
ing appeared later than the
coloured page-picture. The
portrait appeared in books
before the ornamental letter.
There will not be a school
of miniature-painters again
until the art is understood
as being what it is, namely,
Illustration. Its vitality
rests with that conception
of its mission. It need not
illustrate words. It may
illustrate costume, char-
acter, environment—every-
thing. The art of represen-
tation derives its vitality
from one rule only : that
the thing represented has
charmed the artist. In those
circumstances charm abides
in the execution and sways
the spectator.
LX. No. 240.—February