In a painting called "The Conjuror" Hone was considered to have made an attack upon the President and upon Angelica Kauffman. It was rejected by the Academy, and in 1775 Hone opened his exhibition at 70, St. Martin's Lane, issued a catalogue, to which he affixed a preface, telling the story of his discomfiture from his own point of view, and appealing to the people respecting the merits of his paintings. The result was not particularly satisfactory, because it was felt that he had been in the wrong. The catalogue is a very rare one, and the whole story is rather interesting in its details. A fine portrait by Horace Hone, the elder son of Nathaniel, representing William Pitt is in the collection of Lady Maria Ponsonby, and appears in our coloured illustrations (Plate XXXII., No. 2). Horace Hone was a better painter than his father. He excelled in enamel work, and his finest portraits are in that medium. He had a fine sense of colour and loved rich effects of velvet brocade, satin, or fur. Another of his miniatures is in Lord Hothfield's collection, and represents _Lady Mary Nugent_; it is signed and dated, and the owner has kindly permitted us to illustrate it in these pages (Plate XXXII., No. 1). Yet another miniature from Lord Hothfield's collection illustrates the work of Vaslet (Plate XXXIII.), of whom we know hardly anything, save that he lived in York and Bath and that he was a clever worker in pastel. He seems to have visited Oxford in 1779, 1780, and 1789, and there is a good collection of his pastel portraits on paper in the Warden's Lodge at Merton College, the portraits carefully signed and dated; on the majority of them the artist calls himself as L. Vaslet of Bath. There are other collectors in Oxford who have specimens of his work in pastel, but in miniature his paintings are very rare. They are distinguished by a cloudy, flocculent appearance, very much resembling pastel work, and making it evident that the artist was more at home in the use of that material than he was in water-colour. Our very brief survey of English miniature work must end with Sir George Hayter, by whom we illustrate a portrait of the _Countess of Jersey_, from the collection of Lady Maria Ponsonby (Plate XXXIV.). He was portrait painter to Princess Charlotte and Prince Leopold of Saxe-Coburg, but is better known for his historical paintings than for portraits, and he is almost the last of the nineteenth-century miniature painters whose work possesses any special attraction. After his time and that of his contemporaries Sir William Ross, J. D. Engleheart, Robertson, Newton, and Thorburn, the art of miniature painting died away until its revival in recent times.