The upper classes swarmed to have their own miniatures done, and a few artists became known for such work. Richard Cosway was possibly the most prolific and successful miniaturist, counting Prinny as a patron, among many others.



The miniature portrait was being produced all over Europe, but nothing paralleled the popularity of the medium in Britain, especially between around 1769 to 1830. In short, it was a favored Regency form of expression and decoration. The practice of making miniature portraits began as a way for monarchs and other members of the court to produce likenessess which could be given away, mostly for diplomatic purposes. Less costly than full portraits and much more portable, they were imminently practical in an age without photography. They soon became treasured as precious objects, however, and put in opulent settings of gold, pearls and ivory.

Their sizes ranged from as small as 1x1 and a quarter inch to 7x 4 with every variation in between. Most were oval, but there was variation in shape as well as their manner of being worn close to the body.

In addition to a bracelet, for instance, the miniature was often worn as a necklace, on a watch fob, or as a brooch. During the Regency, it was no longer only royalty who commissioned them, but an increasing number of the middle class. The main reason for having or giving one away? To keep loved ones close at heart. What better way to remember one's love than by sporting the likeness of the beloved?

An interesting variation of the miniature was the eye miniature--a tiny portrait of one whole eye! Miniscule and more intimate than a full portrait, the eye was considered the window to the soul--thus being given an eye likeness was a token of intimacy that "outranked" the usual miniature. In addition, even secret lovers could safely exchange these, since anonymity was guaranteed.

In 1786 the prince of Wales (the future Regent) paid five guineas for eye miniatures of himself and Mrs. Fitzherbert, which were encased in gold lockets. Later the prince had another eye miniature made and even one of his mouth, presumably to give to Mrs. Fitz. And before his death in 1830, though he had abandoned her in life, the King insisted upon being buried with the miniature of Mrs. Fitzherbert around his neck; in effect, close to his heart. The Duke of Wellington, to be safe, checked the corpse before burial. Sure enough, the miniature, set with diamonds, was there.

Other uses for the portrait miniature were as tools for grief and mourning, in which the deceased would be remembered as they were in life; or as statements of deep emotional states, such as melancholia, in which the subject would most likely rest his or her head on one hand. The sentimental usage of miniatures as love tokens or means of remembrance, however, is largely what spurred their popularity in the past, just as photos are wildly popular for such reasons today.

The miniatures' popularity peaked at about 1830 and then declined quickly with the advent of photography. The caliber of the artwork on them is no less superb than on larger works of art, and today they are museum pieces and heirlooms. The portrait miniature: exquisite artwork that withstands examination with magnifying glasses! I caught a recent exhibition at the Cincinnati Art Museum and couldn't leave without a copy of the accompanying (huge) catalog. To see a few photos from the exhibit, click here: http://www.LinoreRoseBurkard.com/minis.html