e of Good Government, in Addresses, Letters and
Articles on a Strictly National Currency, Tariff and Civil Service_
(1883).

There is a brief biography by R. W. Raymond, _Peter Cooper_ (Boston,
1900).

COOPER, SAMUEL (1609-1672), English miniature painter. This artist was
undoubtedly the greatest painter of miniatures who ever lived. He is
believed to have been born in London, and was a nephew of John Hoskins,
the miniature painter, by whom he was educated. He lived in Henrietta
St., Covent Garden, and frequented the Covent Garden Coffee-House.
Pepys, who makes many references to him, tells us he was an excellent
musician, playing well upon the lute, and also a good linguist, speaking
French with ease. According to other contemporary writers, he was a
short, stout man, of a ruddy countenance. He married one Christiana,
whose portrait is at Welbeck Abbey, and he had one daughter. In 1668 he
was instructed by Pepys to paint a portrait of Mrs Pepys, for which he
charged L30. He is known to have painted also the portrait of John
Aubrey, which was presented in 1691 to the Ashmolean Museum, as we
learn from his correspondence with John Ray, the naturalist. Evelyn
refers to him in 1662, when, on the occasion of the visit that the
diarist paid to the king, Cooper was drawing the royal face and head for
the new coinage.

Magnificent examples of his work are to be found at Windsor Castle,
Belvoir Castle, Montague House, Welbeck Abbey, Ham House, the Rijks
Museum at Amsterdam and in the collection of Mr J. Pierpont Morgan. His
largest miniature is in the possession of the duke of Richmond and
Gordon at Goodwood. A piece of the artist's handwriting is to be seen at
the back of one of his miniatures in the Welbeck Abbey collection, and
one of his drawings in black chalk is in the University Gallery at
Oxford. His own portrait of himself is in the collection of Mr J.
Pierpont Morgan.

The date of his death has been handed down by a record in the diary of
Mary Beale, the miniature painter; and in some letters from Mr Charles
Manners, addressed to Lord Roos, dated 1672, now amongst the duke of
Rutland's papers at Belvoir, the writer refers to Cooper's serious
illness on the 4th of May, and to his doubt as to whether the artist
would ever recover. Mary Beale's reference to his decease is in the
following words: "Sunday, May 5, 1672--Mr Samuel Cooper, the most famous
limner of the world for a face, dyed."

For a fuller