with his face all one smile of courtesy, or he does the honours with dignity and a lofty sense of—we do not speak disrespectfully—of being on his own dunghill, in respect to the more important exigeant connoisseurs, whom he thinks it right to patronise. He always praises his brethren's works, and discovers in them hidden virtues. For the Associates, he has minor smiles and milder words. The ordinary mob of exhibiters he looks down upon with a calm and complacent gaze, as though from the summit of a Mont Blanc of superiority. At any bold defier of the conventions and traditions of the Academy drawing-school, he shakes his head. The pre-Raphaelite heresy was a sore affliction to him. He looked upon Millais and Hunt as a Low-church bishop would regard Newman and Pusey. He prophesied that they would come to no good. He called them 'silly boys;' and he looks uneasily at the crowds who throng before this year's picture of the Huguenot Couple—not recovering his self-complacency until his eye catches his own favourite work, when he feels himself gradually mollified, and smiles anew upon the world.
Not so the nameless artist, whose work of many toiling days, and many sleepless nights, has been sent in unprotected to take its chance. He knows nothing of its fate until he can get a catalogue. It may be on the line in the east room; it may be above the octagon-room door; it may not be hung at all. Only the great artistic guns are invited to the private view, the rest must wait till Monday. Possibly a stray catalogue puts him so far out of his pain on Sunday. If not, he passes a feverish and unhappy time till the afternoon of Monday; and then, first among the crowd, rushes franticly up stairs. We had an opportunity the other day of seeing the result of a case of the kind. The picture—a work of great fancy and high feeling, but deficient in manipulative skill—the artist, a poet in the true sense of the word, had spent months in dreaming and in joying over. He found it in the dingiest corner of the octagon-room. His lip quivered and his chest heaved. He pulled his hat further down on his face, and walked quickly and quietly out.
We would gladly, indeed, see the octagon-room abolished. A picture is degraded, and an artist is insulted, by a painting being hung in this darksome and 'condemned cell.' The canvas gets a 'jail-bird' stamp, and its character is gone. In France, at the Palais-Royal, the young artists have a far better chance. After a stated time, the pictures, which, as the best have primarily had the best places, change stations with their inferiors; so that everybody in turn enjoys the advantages of the brightest lights and the most favourable points of view.
No need, of course, of attempting even the most summary sketch of the styles and ordinary subjects of the great painters who bear aloft the banner of the British school of art—of Landseer's glimpses of the Highlands; or Stanfield's skyey, breezy landscapes; of the quiet pieces of English rural scenery—meadows, and woodland glades, and river bits, fresh and rich, and green and natural—of our Lees, our Creswicks, our Coopers, our Witheringtons, our Redgraves, our Ausdills; of the classic elegance and elevated sentiment of groups by our Dyces and our Eastlakes; of the abundance of clever genre subjects—scenes from history or romance—poured in by our Wards, our Friths, our Pooles, our Elmores, our Eggs; or of—last, not least—the strange but clever vagaries of that new school, the pre-Raphaelites, who are startling both Academy and public by the quaintness of their art-theories, and the vehement intensity of their style of execution. All the summer long, the world is free to go and gaze upon them. All the summer long, the salons are crowded from morning till night—in the earlier hours, by artists and conscientious amateurs, the humbler sort of folks, who have daily work to do; in the later, by our old friends, the staring, insouciant, lounging, fashionable mob, whose carriages and Broughams go creeping lazily round and round Trafalgar Square. And at parties and balls, and all such reunions, the exhibition forms a main topic of discourse. Bashful gentlemen know it for a blessing. Often and often does it serve as a most creditable lever to break the ice with. The newspapers long resound with critical columns apropos of Trafalgar Square. You see 'sixth notice' attached to a formidable mass of print, and read on, or pass on, as you please. But you distinctly observe, at any rate, the social and conversational, as well as the artistic importance of the Royal Academy; and you confess, that a London season would be shorn of its brightest feature if you shut the gates of the National Gallery.
BILL WILLIAMS:
A STORY OF CALIFORNIA
It was in the first flush of the Californian fever, when moderate people talked of making one's fortune in a fortnight, and the more sanguine believed that golden pokers would soon become rather common, that the Betsy Jones from London to New Zealand, with myself on board as a passenger, dropped anchor in the bay of San Francisco, and master and man turned out for the diggings. It is my impression that not a soul remained on board but the surgeon, who was sick, and the negro cook, who wouldn't leave him; and the first man I met on the deck of the Go-Ahead steamer, which took as up to Sacramento, was our enterprising captain, clad in a canvas jacket and trousers, with the gold-washing apparatus, two shirts, and a tin kettle, slung at his back. The crew followed his example, and all the passengers. The latter were some thirty men, from every corner of Britain, and of various birth and breeding. There were industrious farm-servants and spendthrift sons of gentlemen among them. Some had sailed with money, to purchase land in the southern colony, some were provided only with their hopes and sinews; but California was an irresistible temptation to them all, and by general desire, they had come to try their luck at the washing. We had mere boys and men of grizzling hair in our company. Two were married, but they wisely left their wives in San Francisco, where, having brought with them some spare blankets and crockery, the ladies improvised a boarding-house, and I believe realised more than their wandering lords. Nevertheless, we, one and all, went up the broad river with loftier expectations than the prudent among us cared to make public.
There was one who made no secret of his hopes. The man's name was Bill Williams. I had had a loose acquaintance with Bill from school-time, for we had been brought up in the same good town of Manchester, where his father was a respectable tradesman, and his three brothers were still in business. Many a town and many a trade had Bill tried to little purpose. Never doing what his relatives could call well, he had gone through a series of failures, which tired out both kinsmen and creditors, and at length shipped for New Zealand, leaving a wife and seven children to the care of the said three brothers, till he should see how the climate agreed with him, and find a home for them. Bill did not belong to the extended fraternity of scapegraces. He was neither wild nor worthless, in the ordinary sense of those terms, but there was a faith in him, the origin of which baffled his most penetrating friends, that he was to get money somehow without working for it by any of the common methods. Unlike many a professor of better principles, Bill had carried that faith into practice. Under its influence, he had engaged in every scheme for making fortunes with incredible rapidity which coffee-house acquaintances or advertising sheets brought to his knowledge. There was not a banking bubble by which he had not lost, nor a mining company of vast promise and brief existence in which he had not held shares. Uncompromisingly averse to the jog-trot work of ordinary mortals. Bill was neither indolent nor timid in his own peculiar fashion of seeking riches. He would have gone up in a balloon to any height, or down in a diving-bell to depths yet unsounded, had the promise been large enough; and there was something so suitable to his inclinations in the Californian reports, that he was the prime mover of our visit to San Francisco, and the entire desertion of the ship. Strange to say, every man on board believed in Bill; from the captain to the cabin-boy, they had all listened to his tales. Where he had learned such a number, fortune knows, concerning found treasures, and wealth suddenly obtained by unexpected and rather impracticable ways. That was the whole circle of Bill's literature, and going over it appeared his chief joy; but the gem of the collection was a prophecy which a gipsy woman, whom his mother met once in a country excursion, had uttered concerning himself—that he should find riches he never wrought for, and leave a great fortune behind him. In the faith of that prediction Bill had lived; and it was a curious illustration of the sympathetic force inherent in a firm belief, that both passengers and seamen, even those who affected to laugh at the rest of what they called his wonderful yarns, entertained a secret conviction in favour of that tale, and felt secure of gold-gathering in Bill's company.
I am not certain that my
