A Century later, in the early part of the 16th Century, two Flemish artists, Lucas Horenbout and François Clouet, painted the likeness of Kings in their manuscripts, and these quickly became stand alone portraits – the first portrait miniatures. The painting of miniature portraits of Kings soon extended to other members of Royal Families, Noble Families and members of the Court. Skills were passed on, often in families, and by the 17th Century, miniature painting became the pursuit of a Gentleman as well as the professional artist. These tiny, personal portraits were often far more true to life than the oil portraits that displayed one’s position and wealth, and were hung on a wall for all to see. 

Besides painting on vellum, a few artists specialised in using oil paints on copper or silver supports, and oxide paints on copper, silver or gold. The latter were known as enamel portraits, and these required not just the artist’s painting skills but also the technical skill to separately fire each colour in a kiln to ‘set’ it.

By the early 18th Century, artists like Bernard Lens were experimenting with watercolour painting on ivory. The ivory was cut very thick and the painting appeared flat, possessing none of the luminosity that could be achieved on thin slices of ivory, a skill perfected half a century later by masters such as Jeremiah Meyer, John Smart, Richard Cosway and many others working in this Golden Era of miniature painting.