This section is from the book "Arts & Crafts Magazine Vol1-2", by Hutchinson & Company.
From "How to Identify Portrait Miniatures," by Dr. Geo. Williamson, Litt.D. (Courtesy of Messrs. Geo. Bell A & Sons, Publishers.)
Plimer, which will be found no less valuable to students of their work. Certain differences between the work of Cosway, Engleheart, and Andrew Plimer are made perfectly clear. The notable feature in the work of the last named, we are told, is the definite, distinct painting of the hair, "every hair that is represented being clearly delineated," and "there is far more cross-hatching on the faces, especially in the shadows of the neck and shoulders, than was the case with the work of Cosway. The eyes have somewhat of the exaggeration in brilliance which marked those of Engleheart, but he was a still worse draughtsman than Cosway, especially where groups were concerned. . . . Plimer's daughters had very large and remarkable eyes, brilliant and full of expression," and he insisted on giving them to all his sitters, whom he also endowed with the same "regular shaped, elegant nose, perfect mouth, long neck and snowy bosom." Our readers, we think, will agree with Dr. Williamson that the three Rushout girls "are represented so much alike, that it is almost impossible to distinguish one from the other." Still, as he tells us in his book on the Plimers, these young ladies were not only very beautiful but much resembled each other, while their no less lovely mother, Rebecca, Lady Northwick, was so youthful looking that when the quartet appeared together one could not tell mother and daughter apart: "the four ladies were always surrounded by admirers and even mobbed in their progress through the fashionable streets of town."
As we would expect, coming from the artistic publishers whose imprint it bears, the book is admirably illustrated and faultlessly printed. A worthy setting of a charming work. M. M.