Punch: Punch (76.1879)

286

PUNCH, OR THE LONDON

CHARIVARI. [June 21, 1879.

REASSURING !

Old Gent {suddenly turning corner in narrow lane). "Oh!—I say !—Is he?—
Will he ? "—[Backing into Hedge.)—" Can he ? "-

Feasant. "Don't take no Notice of 'im, Sir! I've got a wee lit
Check on 'im if he runs ! !"

than usual. Glad to say a word for "Whistler. Admirers of J. M. W., look
at this picture, and Sursum Corcler.

No. 62. The Inventor of Sails. F. Smallfield. He should have invented
trousers first.

No. 64. Study of a Head; executed before the Students of the Slade School.
A. Legros. Unsatisfactory explanation. Why was he executed before the
Students ? Why weren't the Students, if they deserved it, executed before
him ? Why was he executed at all ? The answer is, I suppose, that it was
necessary he should be stayed first, in order that the School might be stayed after-
wards. The Slade School, I am glad to say, is very much alive. Mr. Legros
thought he must send a highly-polished specimen to Le Gros-veneer Gallery.

No. 68. Dog Days. A Lady reading under a tree. And

No. 69. _ " Our First Tiff." A sulky Gentleman turning away from a silky
Lady. It is breakfast out-of-doors—it should have been tiffin—and he objects
to spiders in tea. But, all hail, Macbeth—or all sunshine, Macbeth—as Nos. 6
8 and 69 were going to be hung together, and as you call the first " Dog Days,"
why didn't you call the other " Cat and Dog Days " ? Macbeth ! Macbeth !
Macbeth ! I rather like two of your witches!

No. 70. Sheepicashing in Droughty Weather. Again, Macbeth.

" If droughty deeds my Lady please "■-

she '11 buy this picture.

No. 65. _ Portrait of Robert Macbeth. Carlo Pellegrini. Shady. Not
Macbeth—it's Banquets Ghost.

Nothing very remarkable till we come to

No. 73. Paolo and Francesco. G. F. Watts, R.A. ; and

No. 74. Orpheus and Furydice—

" I3y the same—
Watts, his name.

And these are Watts's compositions! Well, I like the old hymns better—

" How doth the little busy bee," &c.

Somebody remarked that Mr. Watts must have lost his head; but for this, on
going to the East Gallery, I found there is no foundation, as Mr. Watts has
taken his own head, and preserved it in oil. At all events, if it isn't his own
head (No. 144) it's exactly like it.

No. 80. False. J. D. Linton. False on both sides
probably. But I thought it was intended for A Re-
hearsal. End of Act I. Tableau. Amateurs having
struck an attitude, anxiously await the fall of the cur-
tain. This impression I find was, what Mr. Linton has
called it—False.

No. 77. A Study. J. D. Linton. No plaster-of-
Paris flesh, but a genuine real girl, all alive, oh!—only
as some shop advertisements have it—"Hands Wanted."

No. 78. The Trumpeter. J. D. Linton. Ah! this
is a trump ! If you've got many of these, Mr. Linton,
you've a fine hand. Never mind the other hands in
No. 77. Honours easy, but you have got an odd trick—
now and then. There 's no doubt, however, about The
Trump. That's a card.

No. 90. Portrait of Signor Piatti. Lady Lindsay (of
Balcarres). Poor Piatti! Without his violoncello—
that is, only the head without the bass which supports
him. No wonder he looks ill. The second time he has
been treated this year.

Nothing of importance till we stop before the works of
James Tissot, Nos. 93, 94, 95, 96, 97, 98, 99, 100.

Nos. 97 and 99. Scenes de la Vie dans le Bois de S. Jean.

The first (97) being The Naughty Old Man; or, I'll
tell your Wife how you spend your Afternoons in Fair
Rosamund's Rower-Villa, N. W. The second scene being
another part of the garden. Naughty Old Man out of it.
Rosamund, in her web, waiting for the flies. This is called
The Hammock. It ought to have been The Web.

Will you walk iuto my Garden ?

Said the Spider to the Fly.
'Tis the prettiest little garden

That ever you did spy.
The grass a sly dog plays on;

A hammock I have got;
Neat ancles you shall gaze on,

Talk—apropos de bottes.

File est bien bottee alors. Is it so ? ' Tis so.

After this amount of pleasure, it is wise that our
thoughts should turn on

No. 98. Going to Business. He leaves Fair Rosa-
mund in the bower, and is off to the City. Is it now
that the Naughty Old Man, who has a clerical cut about
him, takes advantage of his absence to pay his visit ? It
is quite a drama. Perhaps that old clergyman's pa-
rishioners are advertising for him everywhere, Lost,
Stolen, or Strayed. And the business man, meanwhile,
is in the Hansom, going East. Nos. 97 and 99 represent
The Handsome Fair One, and No. 98 is The One Hansom
Fare. And the latter murmurs to himself,

" Drive on, Cabby!
Ah! is she good,
She of the Abbey

Koad, St. John's Wood?"

Before quitting the West Gallery, permit me to draw—
instead of paint, for a change—your attention to a life-
size statue in bronze. It is—

No. 306. A Running Commentary. W. B. Richmond.

No. 107. The Haunted Mill. Cecil Lawson. Haunted!
not even a Ghost would come here. Let me return to
" Kent." Luckily, Mill admirari is not all the Art you
know, Mr. Cecil Lawson.

No. 112. Cold Morning on the Thames. Chevalier
Ed. de Martino. Day and Martin-o !

No. 113. Nausicaa. E. J. Poynter, R.A. Classical
Lady " giving " a fancy ball. (Had quite enough of her
at the Academy. Stili, I suppose she has her admirers.
Mr. Poynter himself would probably say, that he "is
neither tired of, nor sick o' her")

Nos. 132 and 147. Both by J. O'Connor. Patio los
Cypresses Alhambra, and Staircase of Burgos Cathe-
dral, painted C Conamore.

No. 140. Portrait of Mrs. King. Ed. R. Hughes.
Good colour, or, we should say, good Hughes. But why
not have called it the Queen at once ?

No. 143. Dorothy. G. F. Watts, R.A. A very good
little child.

No. 146. Portrait of Mrs. Elmore. C. Cousins. One
doesn't generally trust to relations for a favourable view
of one's characteristics, but in this instance Mrs. Elmore
was right in getting Cousins to paint her.

No. 149. Portrait of Hermann Vezin, Fsq. J. Forbes-
Robertson. "Hermann Vezin; or, After half-an-
hour with the best Hairdresser."

" I knew it wanted cutting," said Mr. H. Vezin.