Chats on Old Miniatures. Foster Joshua James

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      Bone stands out as the enameller par excellence of the English school; and he was astonishingly successful in many large and ambitious pieces. For example, he was paid two thousand guineas for a plaque measuring 18 by 15 inches, a copy of Titian's "Bacchus and Ariadne," in the National Gallery. He devoted himself especially to copying the works of the great masters, such as Raphael, Titian, and Murillo. He also executed a series of 85 copies of portraits of the statesmen and others who lived in "the spacious days of great Elizabeth." But whilst a large measure of success may be ungrudgingly accorded him in respect of these works, the flesh tones in his painting often leave something to be desired; there is a suggestion of painting on porcelain, and of the smoothness and want of vitality that characterise that kind of work, and are so fatal to its artistic completeness. It would be a little curious to trace this tendency to what may be termed ceramic smoothness to the early training of Bone as a china-painter. At any rate, it may be recognised as characteristic of his style.

      His son, Henry Pierce Bone, followed his father's footsteps in painting a great number of copies from the old masters. The elder Bone died in 1834, the younger lived some twenty years longer. Besides these two, there was a P. J. Bone, who exhibited an enamel at the Royal Academy in 1801; and there were also two other Bones, whose names appear in the catalogues, namely, W. Bone and C. R. Bone. They were the grandsons of Henry, and exhibited up to 1851, the latter alone contributing 67 miniatures to the Academy.

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