Punch (74.1878)

I June 1

June 15, 1878.] PUNCH, OR THE LONDON CHARIVARI. 265

OUR OWN ACADEMY GUIDE.

Positively the Last Visit.

ombineNos. 59, 287, 301, 548,
1355, and 1359. Marquis of
Bath. The Right Hon. W.
H. Smith, M.P. Robert
Smith, Esq. Sir G. Scott.
T. H. Wyatt. Rev. G. Car-
rey, D.D. The Very Rev.
Dr. Howson. By Gr. Rich-
mond, R.A. A Richmond
Party. The Marquis of Bath
brings his own buns, and the
Rev. Cubbey comes in hot.
But not a Lady among them !
and yet every one goes to
Richmond for Maids of Hon-
our.

No. 129. The Gods and
their Makers. By E. Long,
A. Excellent. Second title,
"Idol Moments." " Ars
Longa," not " vita brevis."

No. 133. Sweet Margery.
By Gr. A. Stoeey, A. Own
Sister to Little Swansdown.
Nomine mutato, fabula nar-
ratur, i.e., "Another name,
same Storey."

No. 259. Portrait of Him-
self. By T. Websteb, R.A.
Very like, perhaps, but who knows Himself ?

No. 398. The Salute. By J. C. Hobsley, R.A. Cheerful and
dramatic.^Second title, "Private business."

No. 402. Dutch Boats Be-calmed. By C. Thobnely. We shall
see the companion picture to this next vear, called " Dutch Boats
Be-blowe.d."

No. 450. The Head of the Lake. By E. A. Wateelow. Not
water-low at the head of the Lake. That would be too suggestive
of water on the brain.

No 472. Henry Irving as Duke of Gloster. By E. Long, A.
Decidedly E-long-atei.

No. 481. The Sonata. By V. Obmsby. He must have painted
the Daughter first if this is the Son arter. (Where is Constable,
R.A, or an ar-ray of Constables? Police ! !)

No. 568. Convalescents, Children's Hospital. By A. D. Lan-
castee. Apparently recovering from scarlet fever, which they
haven't as yet got out of their clothes.

No. 815. Master Charles Tiller. By Wat. Peecy. I've heard of,
and seen, a man-tilla, but this is the first time I've come across a
boy-tiller. Farewell, brave Pebcy !

No. 830. Trial by Battle. By J. Tenniel. The work of a rising
young artist.

" I speak of John Tenniel,
"Whose fame is perennial! "

That 'j3 my motto, Sir ; and I can't help it if "perennial" must be
spelt in this way. Too late to change now.

No. 936. The Play Scene in Hamlet. By Keeley Halswelle.
Laboured : all work and no play. Bat " Halsivelle that ends well "
—hem! Shaespeaee.

No. 956. " Corney Reach:' By Gr. C. Keee. Dedicated, of
course, to Mr. Coeney Geain, who can reach two octaves at once
easily.

No. 1187. Cyril Flower, Esq. Chalk Drawing. By John
Sandys. Sandys drawing, not chalk. Excellent likeness of a
splendid Flower in full bloom.

No. 1323. Preparing for Conquest. By A. Johnston. I con-
gratulate Conquest. One of Conquest's pupils for the Grecian
Theatre. J'y suis. Very much the pink of perfection, or the per-
fection of pink. A. Johnston pinx-it.

No. 1332. John Corbett, Esq., M.P. By J. C. Hoesley, R.A.
All Mr. Hobsley's humour has been thrown into this picture, which
represents a portrait of a respectable elderly gentleman, disturbed,
while reading a rather risque French novel in a yellow cover. It
might have been called " Somebody Gaming ! " Bravo, Mr. Hoes-
ley, capital R. A. and A1!

No. 1338. Equestrian Portrait of Gertrude, daughter of Frank
Chance, Esq. By Stephen Peaece. To be described as " Chance
and design."

No. 1339. The Iris Pool. By S. J. L. Pickebing. The idea
probably suggested from Shaespeaee's Antony and Cleopatra,
where ^ the latter says, " Charmian, let us to billiards." As the
Queen s other waiting-maid was Iris, the logical mind can see at a
glance what (however remotely) was the germ of this picture,

which has no more to do with Cleopatea's billiards than with her
Pyramids.

No. 1342. A Mill in Picardy. By Robin Johnson. No signs of
a fight; but the Artist has evidently an eye for the very sort of
retired spot where a mill used to be in the palmy, or fisty, days of
the P. R.

Nos. 1356 and 1389. " Waterfall" and " Torrents from the
Mountains." By Edmund Gmll.

Edmund Gill
Went up a bill
To paint a pail of water;
Then came down,
And in Town
His pictures were shown after.

Both works evince a considerable amount of labour, which is just
what would be expected from an artist, who, if he is not a " hewer
of _ wood," is, at all events, a " drawer of water." As the Cockney
said, when no policeman was near, "This Gill is one of the strong
■pints of the Academy."

No. 1376. The Parish Kirk. By W. E. Locehaet. Without
referring to the Catalogue, I should have said that this picture re-
presented prisoners and their friends in a County Court, or a Court
of the County. Another version of Waiting for the Verdict. If it
is a true picture of a Parish Kirk, I'm glad I don't belong to the
Parish. If I did, I shouldn't go to that Kirk, to be one of that
"Kirk's lambs."

No. 1377. The Earl of Dalhousie. By W. W. Ouless, A. Is
it really ? Picture of a Naval Officer, who has been dressing up for
Dumb-Crambo in some Lady's white fur mantle. The word has
been suddenly found out, and somebody has rudely snatched the
mantle off his shoulder, saying, "Come, you don't want this any
more! " Observe the puzzled expression on the Naval Officer's
genial countenance. He can't make out who has discovered the
word, and thinks "somebody must have told them."

No. 1380. Herr Joachim. By Jas. Aechee. Portrait of that
distinguished Violinist, Herr Joachim, more particularly dis-
tinguished, in this picture, by being represented as Hair-Cut
Joachim. Never saw this eminent Musician so neat and tidy.
Capital likeness. Everybody knows who it is meant for ; and that,
let me add, is a strong point in favour of a portrait. Of course,
Joachim is represented as playing first fiddle. A. was an 1' Archer,"
who took a good shot; and I congratulate him on the bow.

No. 1390. Introduction of Christianity into Britain. By J. E.
Cheistie. Evident title—" Christie-anity."

No. 1403. Reading " Robinson Crusoe :" the Footprint on the
Sand. By A. F. Patten. The youthful student appears deeply
interested in the celebrated footprint on the sand ; at least, that is
the impression left by a patten on the canvas.

No. 1405. The Labour of the Dandids. By J. R. Weguelin.
Misnamed. It ought to have been " Family Jars."

No. 1410. The Pasha. By J. E. Hodgson, A. Observe the
Pasha's expression: his hand on his scimetar (or some dangerous
sort of weapon in a sheath), which will be drawn at once if the
Artist doesn't paint to please him. " You take my head off," says
the Pasha, with grim humour, " and I '11 take off yours. Now then
paint away. Allah Kerim I Bismillah! Mashallah—Kismet! "

No more time for the Academy. Last visit, until something
bends my, at present, inflexible determination. Yet there are
plenty more pictures, and a lot of sculpture ; among which lot I've
only had time for " Lot's wife." Striking work in marble, by
Hamo Thoekyceoft, the pose representing her being salted just as
she was turning. (Where are the Police ? Where is Constable,
R.A. ? Fetch him back, or "The Road to Ruin" will send us all
wrong!) Next week for my first visit to the Grosvenor : c'est le pre-
mier pas—chez Coutts. I shall take my own flask, and my own
licence.

Arsenic in Violet Powders.

Pbobably adulteration has never put on a more hideous mask than
its latest, of arsenic in violet powders, leading to large destruction of
infant life.

Arsenic, it seems, is cheaper than starch. Hinc illce lacrymce—
these tears of sorrowing parents. The wholesale chemist to whom
the supply of these poisonous powders was traced must have been
ignorant, or careless, of the poisonous effects of arsenic affixed to
the tender skin of infancy. It may be hard to believe him ignorant;
but to suppose him careless I

All have read of snakes under flowers. Think of poison in violet
powders, and of the infinitely precious lives whose loss has been
laid to this last and most abominable of all abominable adulterations I

sus. pee coll.

Me. Maceonochie has been sentenced to suspension for three
years. Is not this likely to make him more stiff-necked than ever ?

VOL. LXXIV.

a a