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  complete-


HANS    HOLBEII^    THE    YOUNGER.
CATHAKIXE    OF    AKKACON.
HKNKY    VIII.
[H.M.  the  Kiui^.)


HKNKY,    DIKH    UK    RICHMOND.
{H.M.  the  A'm^.)


91


ENAMELS   AND   ENAMEL   PAINTERS      93

ness.  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  185 1,  the  latter  alone  contributing  6^  miniatures
to  the  Academy.
