Another painter whose work was exceedingly popular in Vienna, was Giovanni Battista de Lampi, an Italian born near Trent in 1751, a man very little known outside the narrow limits of the Viennese collectors. He was a wanderer for a few years, painting in Verona, and moving on until he reached St. Petersburg, but when in 1783 he came to Vienna, he was received with open arms, was welcomed by the court and the nobility to such an extent that practically for the rest of his life he resided either in Vienna, or in various towns of Poland from which he could easily reach the capital itself. It was in Vienna that he died at the age of eighty, universally respected and greatly beloved. His wife's portrait is in the gallery at Innsbrück, one of three replicas. The original Lampi retained for himself. His two sons each had replicas, and the remaining one went to his granddaughter, the Baroness Hell, who left it to the museum. One of the replicas which came into the possession of his sons is now a great treasure in Mr. Pierpont Morgan's collection. The portrait from that of Dr. Figdor, which we illustrate in colour, represents Lampi himself (Plate LIII.), and is not only a fine example of the artist's work, serious, and almost solemn in its aspect, but also peculiarly interesting as showing us what the painter himself was like.
Another Viennese miniature painter whose work we illustrate is Moritz Michael Daffinger, who has been called the Austrian Isabey, but these comparisons, like that applied to Füger, are of little significance. What is of special interest with regard to Daffinger is the fact that he adopted the manner of Sir Thomas Lawrence as his own. Lawrence visited Vienna in 1814, and was received with great honour. While there he painted some portraits. Daffinger admired his work immensely, and undoubtedly some of his best miniatures are reminiscent of Lawrence. Especially is this the case with a beautiful girl's portrait from the collection of another Viennese collector, Gräfin Emma Wilczek-Emo-Capodilista; and for permission to illustrate this delightful miniature (Plate LIV.) we are particularly grateful, as it is a charming specimen of the best work of the nineteenth century, a pleasing portrait, and very agreeable in its colour scheme.