Punch (94.1888)

196

PUNCH, OR THE LONDON CHARIVAEI. [Apbil 28, 1888.

THE WATER-COLOUR INSTITUTE.

Sie James Lotton, you'll first notice, has a splendid " Sacharissa,"
Near it Thomas's " Verandah" has a most unpleasant shine;

But, as one great consolation, you can never fail to miss a
Clever "Doleful Bumps" byTenhtei,, that's hung upon the line.

"Our Jolly Young "Wator-(Colour)-Man."

Here's James Oebock's "On the <$,oZ«>ay,".EBsrEST Paeton paints
us birches,

Abthttb Sevebn Mussel-gatherers who fly from MorecambeBay ;
While our Keeley Haxswelle shows us quite the loveliest of
churches, [ing Grey."

And well Joseph Knight's depicted what he calls " The Morn-

In the next room we've some Weebons, which are bright and
realistic, [can be;

While Chables Gbeen has made his Turveydrop as perfect as

Would that Gbegoey's "Marooned" were far less hot and
inartistic,—

As a contrast, note how Wyllie or how East has treated sea.

Hubeet Medlycott's "Fishmongers', Hall and View of London
Bridge" is

Neatly painted, and there's cleverness in Kilbtjbne's old gavotte ;
Edwin Hayes has shown us trawlers crossing heavy ocean-ridges,
While Stock's soul in contemplation rivals even Oldham's Stott.

Passing on, we note Count Seckenbobe's "San Remo," then the
haunted

Chamber Nash has deftly painted; and a picture tells the tale
Of how men are sore deceivers: there the Scot reads on undaunted,
In " The Covenanters " feeling that the bible will prevail.

There is Waeeen's "Wealth of Woodland," Teeby''s "Interesting
Story,"

In "A Chapter from the Koran," lo I the auditors are mute;
And there's many another painter who deserves his meed of glory;
But the bard has spun six stanzas. Quantum suff,, 0 Institute!

THE "PRODIGY" SONS.

The infant Otto Hegneb—a name very suggestive of a chicken
scarcely out of its shell—has, it appears, been performing at the
Philharmonic, a circumstance which the Musical Critic of the Times,
1 7v^ reasonably urges that, as the Society is supposed to repre-
sent the interests of high-class music, it might be above yielding to
the craze of the hour, confesses he views both with surprise and
regret. That there is a regular flood of these musical prodigies
threatening to sweep over every concert-hall platform, there is not a
doubt; and while the public rush in applauding crowds to welcome
them, it is not easy to see where it is to stop. As long as the fever
lasts, their parents, whatever their weight, may be counted upon to
keep hurrying them to the " scales," and set them down to the key-
board practising till they are often literally laid on their Bach's.
Meantime, while the infants struggle, it is becoming a serious ques-
tion lor the regular adult performers, who will find their occupation
gone, and certainly not know what to do with themselves, if the former
are to have it all their own way. For them, whatever the publio
may think of it, the matter wiU undoubtedly be no mere "child's-
play," and they will surely hail any signs indicating that this
recent determined invasion of the concert-room by the nursery is at
all on the wane, with every expression of unfeigned delight.

VOCES POPULI.

AT A BOND STKEET GAJXERX

Scene—Exhibition Booms of a well-known Art Dealer's, where the
main attraction is a very charming collection of Japanese impres-
sions by a Rising Painter. In the first room are displayed
miscellaneous landscapes and figure-subjects by other painters,
which two Prosaic Persons are inspecting in puzzled silence.
First Prosaic Person {after examining pictures of coast scenery by
"Mr. William Stott, of Oldham"). I daresay it's all right—but
it's not my idea of Japan! [Feels vaguely defrauded.

Second P. P. {sensibly). I expect, if the truth was told, most
places are pretty much alike. Seems to be something going on in
the further room, though,—better go in and see if there's anything
to be seen there, eh ?

[They enter the inner Gallery, which is draped in dull carnation
and pale yellow, and hung with sketches framed in old gold
and dead copper, arranged in somewhat irregular order.
Visitors are moving slowly from one picture to the other,
making enthusiastic comments in a reverent whisper.
First P. P. [a little dubiously). This looks more like jt. Very
eccentric, though, sticking the pictures about in patches like this!

Second P. P. {shrewdly). Oh, they naturally want to make 'em
go as far as they can, but they might have hung 'em in patterns,—
much neater-looking than this. Will you get a Catalogue, or
shall I ?

First P. P. {without feeling in his pockets). Well, I'm not sure
whether I have any silver about me.

Second P. P. That little Japanese girl, who sells them, will give
you change, if you ask her.

First P. P. {annoyed). How the dooce am I to ask for change,
when I don't know the language ?

Second P. P. Oh, I'll get it, then. I'll make her understand
somehow. (Goes up to little Jap. Lady, and proceeds to gesticulate
elaborately with a shilling.) Tou give me—one book, I give you—
this. Tou understand ?

Jap. Lady {sedately). I unnerstan'verri well. But the Catalogue
is only seekspence—I can give you_ change.

Second P. P. [returning to friend with Catalogue). Wonderful
how you can get along with signs I I never have any difficulty
wherever I go. [ They proceed to examine the pictures.

First P. P. I wonder why they've all got a little red spot on the
frame ?

Second P. P. Oh, they put that on to show they 're sold. Same
as a star, you know.

First P. P. But some of them are ticketed "sold."

Second P. P. {staggered). Well, you may depend on it, it isn't
done without some reason. Pity he don't finish his things more,
isn't it ?

FirstlP. P. I daresay he wasn't given time. I've heard the
authorities are very particular out there. {Pointing to sketch of
village street.) Those Chinese lanterns aren't bad, though.

Second P. P. N-no, but you can get them anywhere now.

An Ancient Amateur {with loud voice, patronisingly to Manager).
I congratulate you—very attractive exhibition you've got here—ex-
ceedingly so, indeed!

Manager {foreseeing a potential purchaser). It's having a great
success, certainly. Have you seen the PresB notices ?

[Shows cuttings, mounted on pieces of cardboard.

The A. A. {waving them away). I don't require any papers to tell
me what to admire. And I say again, there is some remarkably good
work here—I don't care who hears me!

Manager, Quite so—now here's a fine one, look at the purity of
that colour, now ? And not expensive.

The A. A. Isn't it, though? Well, if Mr. {mentioning name of
rising Painter), was here, I could tell him something he might find
worth his attention.

Manager. I think he is in the Gallery. Ah! there he is. Would
you like to be introduced, to him ?

The A. A. {with condescension). Certainly, certainly, by all
means I {Introduction effected accordingly. Rising Painter slightly
mystified.) How are you?—how are you? Very glad to have this
opportunity. Always glad to see the younger men succeeding.
{Rising Painter, more mystified than ever, wonders who the deuce
he is.) I know all about these things. I daresay you '11 know my
name when I mention it. (Importantly.) I'm Jabbeeley, Sir.
I've been to Japan. (As if the B. P. hadn't.)

[By this time a small crowd has collected, under the impression
that the A. A. is the Painter himself.

The R. P. (courteously vague). Oh, Jabbeeley, to be sure—-of
course! And you have been out there ?

The A. A. (louder than ever). I have; and I may say I know
something of the effects it is possible to get with that atmosphere.
I sketched a good deal while I was there, purely for my own amuse-
ment, you understand (the R. P. bows), and I can give you a hint