their work, except for his later full-lengths, which his clients may have hoped would be mistaken for more expensive Van Dycks. He may have been successful in this, as some full-length portraits attributed to van Dyck's workshop may well be by him. In the early years, his standard way of signing portraits was the phrase "fecit C J", although the 1619 portrait entitled the Countess of Arundel (below) is signed Cornelius Johnson fecit and many later works also have a full signature. Johnson's early portraits were panel paintings with "fictive" oval frames – they appear to have a wooden or marble oval surround, but this is actually painted on to the panel. This trompe-l'œil effect was one of Johnson' favourite devices in the early part of his career. "His figures are usually placed in front of dark, undefined backgrounds with focus on their faces and elaborate costumes that denote their social standing." He also painted some portrait miniatures on copper. His early works (for example the 1620 portrait of Sir Alexander Temple) were described by C. H. Collins Baker as "flat wooden and inanimate". Within a year, he has made "an astonishing advance" and his modelling becomes full and "his temper established". His earliest three-quarter length work is a pair of portraits of Thomas Boothby and his wife painted in 1619 and sold by the Weiss Gallery in 1988. Another three-quarter length portrait (of Lord Keeper Coventry) is dated 1623, and shows a certain lack of skill in dealing with the body, which is overcome in later works. In his portraits, the sitters head is often unexpectedly low. The eyes have enlarged, rounded irises and deep curved upper lids. The London Painters and Stainers company has a 1623/4 portrait of Clement Pargeter, William Peacock and Thomas Babb that may be by Johnson. If so, it is the earliest group portrait by him. His style was conservative although it varied considerably over his career, and he was able to assimilate new influences into his own style without any discordant effect. He took from, in turn, Mytens, van Dyck, and William Dobson. His last Dutch portraits show a different style reflecting contemporary portraiture there. However he also influenced other artists – both lesser lights as well as more accomplished artists such as van Dyck. Following the Netherlandish tradition, he was particularly accurate and detailed in depiction of clothing. As a result, his