DOI Heft:
September 16, 1865
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.16876#0116
104
PUNCH. OR THE LONDON CHARIVARI
[September 16, 1865.
THE GUIDE TO BRADSHAW.
CHAPTER V.
Art Notes continued—The Galleries—Rules— Hangers—The Lion—A
Gup of Coffee—Portrait of a Lady—Portraits of two Gentlemen.
efore introducing
the Railway Art-stu-
dent to the treasures
of another West-End
gallery, it will be as
well to mention one
or two circumstances
in connection with
these exhibitions of
ancient Art modern-
ised.
The West Galle-
ries, exclusive o* the
Metropolitan under-
ground stations, are
those of Charing
Cross, Paddington,
Victoria and Water-
loo.
The East are at
Bishopsgate, Lon-,
don Bridge, Earring-1
don Street, and
Eenchurch Street.
The Northern
Galleries at Euston
Square and King’s
Cross will also repay
the trouble of a
visit. Admission to all is gratis.
Bradshaw publishes, bound up with his Guide, a catalogue of these
mural decorations, but it is by no means comprehensive or exhaustive;
and by the utter absence in its pages of anything like order or per- j
spicuous arrangement, it is almost worse than useless to the inquiring
traveller who is at all pressed for time.
The Pictures are for the most part un-numbered, a defect to which
we call the attention of the exhibitors. Only R.A.’s are privileged to
hang their productions on the station walls. The distinction conferred (
upon an artist by the degree of R. A. is that of Railway Advertiser. An J
A.R.A. is an Associate of Railway Advertisers. The R.A.’s possess the
right of exhibiting on the Line, and all along the Line: there are no
hangers below the Line.
The reader will now have the goodness to accompany us to the
gallery at the Victoria Station. The first picture that strikes us is
nostril been less gradual, the effect of the eye’s ferocity would have
been even more striking than it is. We cannot extend our praise to
the instruments of torture, and the weapons of attack with which man
has provided himself, that occupy the foreground of the picture. Apart
from any objection that we might be inclined to make to their introduc-
tion, on the score of aesthetical propriety, we shall content ourselves
with remarking, that all impress of local atmosphere about them is
entirely wanting. We will not, however, be unnecessarily severe upon
such an undoubtedly meritorious work as that before us, and shall watch
with increasing interest the progress of a pupil who so worthily follows
iu the footsteps of his great master Sir Edwin Landseer.
No. 30. A Cup of Coffee in one Minute.—A Turkish slave magnificently
dressed carrying coffee to the Pasha’s visitors. A picturesquely and
originally designed work ; but the
details are elaborated to such a
painful extent as to destroy the
freedom requisite in a picture of
this nature. There is Ultra-Pre-
Raphaelitism and uncompromis-
ing bigotry in every fibre of the
large patterned carpet, which the
red Turkish shoes of the cup-
bearer are indenting. Such in-
sistance on minutiae as this is
false to the true principles of Art,
and is but a representation of
nature as seen through a micro-
scope of extraordinary power.
Some students of this school
affirm that beneath even their ap-
parently most trivial productions
lies a moral. Minute manipula-
tion is fatal to freedom. Mr.
Dunn will not only probably
allow, but actually adopt the
axiom, as a defence of his method
of representing a slave.
Owing to the absence of any
authoritative catalogue, we have .
assumed the title to be A Cup of Coffee in one Minute, but re-consideration
induces us to prefer The Pirtuous Slave as being the person to whom the
description “ warranted to keep good in any climate ” is meant to apply.
The silver coffee-pot and cup are in keeping with the character of ^the
tray which is well imagined, though coloured in too low a key. The
slave himself is less forcibly conceived, being of the low Arab type.
The dress is brilliant, and admirably harmonised; but in his treatment
of drapery the painter shows a tendency to elaboration without due
regard to strict and valuable accuracy. The picture on the whole is far
above the average of this year’s show. Let not the artist be satisfied
with praise, but, persevere and do good service in the cause of Art.
The Portrait of a Lady (Madame Booth) and two portraits of gen-
tlemen by Sangster, R. A., call for no very special notice from us. In
1 WARRANTED TO KEEP OOOD IN ANY
CLIMATE.”
No. 20. Leo the Great.—A majestic head of a grand old lion looks
down disdainfully upon us from out of a thicket of patent taps,
corkscrews, razors, and seven-bladed pocket knives. We have
to blame Mr. Moseley, inasmuch as he has presented so small a ■
space for fault-finding, the lion’s head being all that the artist has per-
effect of the face above them.
Mr. Sangster’s portraits are too wooden. The modern dresses,
however, are managed with singular mastery and fidelity.
mittedus to see. We are sorrvthat he has not gone the entire animal,
but in what he has given us uhere is such a depth of colouring, so
admirably managed a relation ’twixt light and shade, so careful a
manipulation specially evident in his handling of the seven-bladed
knife in the right-hand corner, as to evoke from the most severe
critic an involuntary expression of the heartiest admiration. Had
the gradation of the tawny tint between the right eye and the left
Pedantry of the Press.
Leader-writers delight in calling the murrain “ the Rinderpest.”
What affectation is this ? Why resort to a German word, when there
is a capital English term already at their fingers’ ends ? Like sensible
fellows, if they wish to be understood, why don’t they call it simply
“ the Cattlelepsy ?”
PUNCH. OR THE LONDON CHARIVARI
[September 16, 1865.
THE GUIDE TO BRADSHAW.
CHAPTER V.
Art Notes continued—The Galleries—Rules— Hangers—The Lion—A
Gup of Coffee—Portrait of a Lady—Portraits of two Gentlemen.
efore introducing
the Railway Art-stu-
dent to the treasures
of another West-End
gallery, it will be as
well to mention one
or two circumstances
in connection with
these exhibitions of
ancient Art modern-
ised.
The West Galle-
ries, exclusive o* the
Metropolitan under-
ground stations, are
those of Charing
Cross, Paddington,
Victoria and Water-
loo.
The East are at
Bishopsgate, Lon-,
don Bridge, Earring-1
don Street, and
Eenchurch Street.
The Northern
Galleries at Euston
Square and King’s
Cross will also repay
the trouble of a
visit. Admission to all is gratis.
Bradshaw publishes, bound up with his Guide, a catalogue of these
mural decorations, but it is by no means comprehensive or exhaustive;
and by the utter absence in its pages of anything like order or per- j
spicuous arrangement, it is almost worse than useless to the inquiring
traveller who is at all pressed for time.
The Pictures are for the most part un-numbered, a defect to which
we call the attention of the exhibitors. Only R.A.’s are privileged to
hang their productions on the station walls. The distinction conferred (
upon an artist by the degree of R. A. is that of Railway Advertiser. An J
A.R.A. is an Associate of Railway Advertisers. The R.A.’s possess the
right of exhibiting on the Line, and all along the Line: there are no
hangers below the Line.
The reader will now have the goodness to accompany us to the
gallery at the Victoria Station. The first picture that strikes us is
nostril been less gradual, the effect of the eye’s ferocity would have
been even more striking than it is. We cannot extend our praise to
the instruments of torture, and the weapons of attack with which man
has provided himself, that occupy the foreground of the picture. Apart
from any objection that we might be inclined to make to their introduc-
tion, on the score of aesthetical propriety, we shall content ourselves
with remarking, that all impress of local atmosphere about them is
entirely wanting. We will not, however, be unnecessarily severe upon
such an undoubtedly meritorious work as that before us, and shall watch
with increasing interest the progress of a pupil who so worthily follows
iu the footsteps of his great master Sir Edwin Landseer.
No. 30. A Cup of Coffee in one Minute.—A Turkish slave magnificently
dressed carrying coffee to the Pasha’s visitors. A picturesquely and
originally designed work ; but the
details are elaborated to such a
painful extent as to destroy the
freedom requisite in a picture of
this nature. There is Ultra-Pre-
Raphaelitism and uncompromis-
ing bigotry in every fibre of the
large patterned carpet, which the
red Turkish shoes of the cup-
bearer are indenting. Such in-
sistance on minutiae as this is
false to the true principles of Art,
and is but a representation of
nature as seen through a micro-
scope of extraordinary power.
Some students of this school
affirm that beneath even their ap-
parently most trivial productions
lies a moral. Minute manipula-
tion is fatal to freedom. Mr.
Dunn will not only probably
allow, but actually adopt the
axiom, as a defence of his method
of representing a slave.
Owing to the absence of any
authoritative catalogue, we have .
assumed the title to be A Cup of Coffee in one Minute, but re-consideration
induces us to prefer The Pirtuous Slave as being the person to whom the
description “ warranted to keep good in any climate ” is meant to apply.
The silver coffee-pot and cup are in keeping with the character of ^the
tray which is well imagined, though coloured in too low a key. The
slave himself is less forcibly conceived, being of the low Arab type.
The dress is brilliant, and admirably harmonised; but in his treatment
of drapery the painter shows a tendency to elaboration without due
regard to strict and valuable accuracy. The picture on the whole is far
above the average of this year’s show. Let not the artist be satisfied
with praise, but, persevere and do good service in the cause of Art.
The Portrait of a Lady (Madame Booth) and two portraits of gen-
tlemen by Sangster, R. A., call for no very special notice from us. In
1 WARRANTED TO KEEP OOOD IN ANY
CLIMATE.”
No. 20. Leo the Great.—A majestic head of a grand old lion looks
down disdainfully upon us from out of a thicket of patent taps,
corkscrews, razors, and seven-bladed pocket knives. We have
to blame Mr. Moseley, inasmuch as he has presented so small a ■
space for fault-finding, the lion’s head being all that the artist has per-
effect of the face above them.
Mr. Sangster’s portraits are too wooden. The modern dresses,
however, are managed with singular mastery and fidelity.
mittedus to see. We are sorrvthat he has not gone the entire animal,
but in what he has given us uhere is such a depth of colouring, so
admirably managed a relation ’twixt light and shade, so careful a
manipulation specially evident in his handling of the seven-bladed
knife in the right-hand corner, as to evoke from the most severe
critic an involuntary expression of the heartiest admiration. Had
the gradation of the tawny tint between the right eye and the left
Pedantry of the Press.
Leader-writers delight in calling the murrain “ the Rinderpest.”
What affectation is this ? Why resort to a German word, when there
is a capital English term already at their fingers’ ends ? Like sensible
fellows, if they wish to be understood, why don’t they call it simply
“ the Cattlelepsy ?”