With these two exceptions, almost all Petitot's miniatures are exceedingly tiny in size. The only other enameller whose work we illustrate was named Prieur, and he married, as her second husband, Marie, the only sister of Jean Petitot. Prieur was a wanderer; we find his work in Poland, Denmark, Russia, Spain, and especially in Denmark, where there are many of his portraits, and where he is believed to have died in 1677. He visited England charged with commissions from the King of Denmark, and, while there, painted a portrait of Charles II. and another of Lady Castlemaine, both from Cooper's miniatures. He was also responsible for a portrait of _Charles I._ (Plate XXXVI., No. 1), but whether contemporary or not we cannot say, for so little is known of Prieur's history, that he may have visited England before 1669, when we know he came over to paint Charles II. In all probability, however, this delightful work, which now belongs to Mr. Pierpont Morgan, is a copy by Prieur from the portrait of the King by Vandyck. Prieur executed several delightful enamel badges for the Danish Orders, and appears to have been in high repute at the courts both of Frederik III. and Christian V. We have now to deal briefly with the long range of foreign miniature painters, the chief of whom were resident in France, although not always natives of that country. There was a regular tradition of miniature painting in France, extending from the times of the Clouets down to those of the great painters Isabey and Augustin. The works by Jean Clouet were, of course, more of the nature of paintings in manuscripts, and if we are accurate in attributing one of the great gems of Mr. Morgan's collection to Jean Clouet himself, it adds one to the only other seven portraits which have been, with any amount of accuracy, given to this painter. All of the seven are illustrations in one manuscript volume, and probably this eighth was either executed for the same purpose, or has actually been removed from a contemporary work of that kind. When we come to the later Clouets, François especially, we have actual miniatures, and in several instances the drawings for the portraits exist, also enabling us to identify whom the miniatures represent. It would be impossible within the limits of this short essay to deal with all those who succeeded the sixteenth-century men, and we have to make a big jump to the eighteenth century, because it was during that time that the most notable of the French miniature painters flourished, and their works are by far the most important.