The impetus thus given to miniature painting led, unfortunately, to the production of cheap substitutes of artistic work in the form of colored photographs made to simulate miniatures. These tawdry imitations were sold broadcast to undiscriminating persons, and did much toward creating the opinion that a miniature could not be a serious work of art. Some merely regarded miniature painting as a remarkable feat of technical skill--a "stunt," in which the feature of interest was the astonishing minuteness of detail that could be introduced on a very small area. It was to counteract this popular fallacy and encourage the work of really good artists that the American Society of Miniature Painters lent its best efforts--with the coöperation of the Pennsylvania Society of Miniature Painters,--an offshoot from the older organization. [Illustration: PRIMAVERA, BY W. J. BAER] [Illustration: NANETTE SIEBERT, BY W. J. BAER] These exhibitions revealed a miniature art of a high order of merit. But even among examples supremely fine in quality there are to be found many productions that were simply good, honest workmanship, without inspiration. Painting on ivory is not easy of control, and it is unresponsive to the intention of the hand. The colors wash up readily, or at best are apt to be spotty and unmanageable. In consequence, the painter must resort to stippling (a process of drawing by means of dots) and repeated light touches to produce the required flow of form or surface. The results, therefore, except under the hand of a master, are apt to run to labored effects, due to the loss of freshness and directness. The expression, "It is art to hide art," may be taken to mean that an artist's results should appear comfortable, spontaneous and unrestrained. _William J. Baer_ In these characteristics there is no more proficient exponent than William J. Baer, although his earlier efforts in art were devoted to magazine illustrating, painting in oil and teaching drawing at the School of Applied Design for Women, Cooper Institute and Chatauqua. It may be interesting to note here how circumstances often cause the door of opportunity to open for a man, in fields quite different from those to which he dedicated himself. For example, S. F. B. Morse (1791-1872) who was the most able portrait painter in the United States in his time, found his place in the Hall of Fame as the inventor of the telegraphic code. [Illustration: BETTY, BY W. J. BAER (copyright) Doubleday, Page & Co.] [Illustration: JEANETTE, BY W. J. BAER]