GEORGE ENGLEHEART, who exhibited miniature portraits at the Royal Academy as early as 1773, was, in 1790, appointed Miniature Painter to the King. He painted on both enamel and ivory. He exhibited until 1812. RICHARD COSWAY (1740--1821) was famous for skill in miniature-painting, in which no one of his day could approach him, and for vanity, extravagance, and eccentricity. A _specialite_ of his was the composition of small whole-lengths, the bodies of which were executed in pencil, the faces in colour. No beauty of the day was happy unless her charms had been delineated by Cosway; the fair companions of the Prince Regent were among his warmest patrons, and the Prince was a frequent visitor to the artist. Cosway's wife, Maria, was a clever miniature painter, and worked for Boydell's Shakespeare and Macklin's "Poets." Of the scandals concerning her and her husband we need not speak. In his latter years Cosway professed to believe in Swedenborg, and in animal magnetism, pretended to be conversing with people abroad, claimed to have the power of raising the dead, and declared that the Virgin Mary frequently sat to him for her portrait. He was elected Associate of the Royal Academy in 1770, and full member in 1771. HENRY BONE (1755--1834) commenced life as an apprentice to a porcelain manufacturer at Plymouth, where he painted flowers and landscapes on china, and secured success as an enameller. Passing from the manufactory, Bone began work in London by enamelling small trinkets. He first came into general notice in 1781, by means of a portrait of his own wife. Bone's success was rapid. He was made an Academician in 1811, and was Enamel Painter to George III., George IV., and William IV. His most famous works were miniatures after Reynolds, Titian, Murillo and Raphael. Remarkable also are his portraits of the Russell family from Henry VII.'s reign, the famous royalists of the civil war, and eighty-five likenesses of Elizabethan worthies. HENRY EDRIDGE (1769--1821) was another miniature painter, who owed some of his success to careful following of Reynolds. He painted miniatures on ivory, and for a time on paper, using the lead pencil over Indian ink washes. He was also highly successful as a landscape painter in water colours. ANDREW ROBERTSON (1777--1845), the son of a cabinet-maker at Aberdeen, came to London on foot in 1801, and gained the patronage of Benjamin West, the President, whose portrait he painted. Robertson became, in due course, a very successful miniature painter, and practised his art for more than thirty years. His likenesses are truthful, but do not stand in the first rank of miniature-painting.