categorised into three distinct periods. His initial paintings were small in size. It was common for artists of the period circa 1775 to paint on small ivories of approximately 1½ to 2 inches in height. Miniaturists at this time were still learning to exploit the full potential of ivory, and were struggling to find ways of adhering the watercolour to its greasy surface. Hence, they found it difficult to paint large areas of ivory, and tended to keep the miniatures small. It was still fashionable for ladies to wear portrait miniatures on bracelets around their wrists, and small miniatures helped facilitate this. Engleheart's portraits of this era are sometimes signed 'G.E.' The flesh tones are coloured by reddish tints over a pale ground, with the facial features accentuated using a bluish-grey tone. During the period circa 1780–1795, Engleheart developed his very distinctive style, with his draughtsmanship and use of colour becoming consistent and high quality. He still sometimes paints small sized miniatures, but he more frequently paints on ivories of around 2½ inches in height. His works are easily recognisable: he often portrays his sitters with deep eyes under strong eyebrows, together with a slightly lengthened nose, and the flesh colour of the face is painted using a brownish yellow tone. The corners of the mouth are drawn with diagonal grey strokes. Engleheart imbues his sitters with a sense of gentleness, elegance and serenity; even his military officers look more at home in the drawing room than the battlefield. He often used opaque white to pick out the details of the pale coloured dresses worn by his female subjects, and their hair is often worn high and/or powdered, as was the fashion of the time. The men wear their hair powdered 'en queue', i.e. powdered wigs worn over long hair pulled back into a ponytail which was tied with a black ribbon. Engleheart did not always sign his work during this period, but towards the end of this phase he began signing with a cursive 'E' placed in the bottom corner of the obverse, and he continued with this style of signature for quite a number of years. In addition, he also started to sign and date his portraits in full on their reverse. The third and final period of Engleheart's career is circa 1795–1813. His painting style does not really change from that developed in the preceding years, but