Continental eighteenth-century miniaturists. He has been called the Viennese Cosway, but the work of Füger has very little affinity with that of our English painter. It is far stronger and more severe, and his more graceful portraits are richer in their colour scheme, and far more elaborate in their decorative effect than anything ever painted by Cosway. There are two wonderful miniatures by Füger in Mr. Pierpont Morgan's collection, one representing three sisters, the Countesses Thun-Hohenstein, and the other Madame Rousbaeck, a lady-in-waiting to the Empress Marie Theresa, but Dr. Figdor's illustrations set forth in excellent manner both the strength and the charm of this wonderful painter. Nothing can be more forcible than the sketch of _Prince Hohenlohe_ (Plate XLVIII.), and we realise the power and dignity of the sitter when we regard this marvellous delineation of character. For dainty grace it is difficult to excel the portrait of the anonymous lady (Plate XLIX.), for strength and gracious dignity that of the _Empress Maria_ (Plate L.), while the portrait of _Marie Theresia, Countess von Dietrichstein_ (Plate LI.) is that of a noble dignified lady of high position, splendid courage, and great charm, and that of _Princess Anna Liechtenstein_ (Plate LII.) shows us a thoughtful, learned, and musical lady, a portrait very decorative in colour scheme, and charmingly set upon its oval of ivory. Another painter whose work was exceedingly popular in Vienna, was Giovanni Battista de Lampi, an Italian born near Trent in 1751, a man very little known outside the narrow limits of the Viennese collectors. He was a wanderer for a few years, painting in Verona, and moving on until he reached St. Petersburg, but when in 1783 he came to Vienna, he was received with open arms, was welcomed by the court and the nobility to such an extent that practically for the rest of his life he resided either in Vienna, or in various towns of Poland from which he could easily reach the capital itself. It was in Vienna that he died at the age of eighty, universally respected and greatly beloved. His wife's portrait is in the gallery at Innsbrück, one of three replicas. The original Lampi retained for himself. His two sons each had replicas, and the remaining one went to his granddaughter, the Baroness Hell, who left it to the museum. One of the replicas which came into the possession of his sons is now a great treasure in Mr. Pierpont Morgan's collection. The portrait from that of Dr. Figdor, which we illustrate in colour, represents Lampi himself (Plate LIII.), and is not only a fine example of the artist's work, serious, and almost solemn in its aspect, but also peculiarly interesting as showing us what the painter himself was like.