I often think that really the equivalent right now of a portrait miniature is the image on your mobile phone.

Something that you carry with you, just like a miniature. It's the same sort of size as a miniature and it's something you've chosen and it's something you're looking at all the

time. But you're not necessarily, you know, every time I get my phone out, I don't necessarily

just say, hey everyone, look, what's on my phone. It's just for me. I'm Carol Houlton, the voice

of jewellery. Welcome to if jewels could talk. I'm an author and broadcaster and the woman who initiated the role of jewelry editor

at magazines like Tatler and Vogue. This is a podcast for everyone, for people who do like

jewelry, for people who don't realize they like jewelry, and anyone intrigued by fascinating facts,

new ideas and forgotten histories. So join me as I tell sparkly tales

and meet all sorts of people delving into four centuries of jewelry culture and investigate

what's happening now. I am delighted to be here today with Emma Rutherford.

She's a specialist in portraiture, the founder of the Limna Company.

She specialises particularly in portrait miniatures from the 1520s to the 1870s and silhouettes.

She's the author of the book Silhouette, The Art of the Shadow, and is the curator of many exhibitions.

And indeed, we met at one, which was held at Compton Verney, called The Reflected Self.

Emma, thank you for joining us today.

Thank you. It's my pleasure.

I mean, portrait miniatures are obviously an art form, but they had specific uses, didn't they?

And I'd love for you to tell us a little bit about some of the uses that these jewels and little artworks had.

Well, first of all, just to slightly dispel the little element.

Yes, they are small and they are small because of their purpose. But in fact, the word miniature

refers to their origin, which they derived from the illuminated manuscript,

and there was a red lead pigment called Minium, which is connected to the word miniature.

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