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    Chambers's Edinburgh Journal, No. 444 Volume 18, New Series, July 3, 1852
    Chambers's Edinburgh Journal, No. 444 Volume 18, New Series, July 3, 1852
    Chambers's Edinburgh Journal, No. 444 Volume 18, New Series, July 3, 1852
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    Chambers's Edinburgh Journal, No. 444 Volume 18, New Series, July 3, 1852

    By Various Various, William Chambers and Robert Chambers

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    LanguageEnglish
    PublisherArchive Classics
    Release dateNov 27, 2013
    Chambers's Edinburgh Journal, No. 444 Volume 18, New Series, July 3, 1852

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    Reviews for Chambers's Edinburgh Journal, No. 444 Volume 18, New Series, July 3, 1852

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      Chambers's Edinburgh Journal, No. 444 Volume 18, New Series, July 3, 1852 - Various Various

      Project Gutenberg's Chambers's Edinburgh Journal, No. 444, by Various

      This eBook is for the use of anyone anywhere at no cost and with

      almost no restrictions whatsoever. You may copy it, give it away or

      re-use it under the terms of the Project Gutenberg License included

      with this eBook or online at www.gutenberg.net

      Title: Chambers's Edinburgh Journal, No. 444

      Volume 18, New Series, July 3, 1852

      Author: Various

      Editor: William Chambers

      Robert Chambers

      Release Date: April 8, 2007 [EBook #21010]

      Language: English

      *** START OF THIS PROJECT GUTENBERG EBOOK CHAMBERS'S EDINBURGH JOURNAL ***

      Produced by Malcolm Farmer, Richard J. Shiffer and the

      Online Distributed Proofreading Team at http://www.pgdp.net

      CHAMBERS' EDINBURGH JOURNAL

      CONTENTS

      THE ART SEASON.

      BILL WILLIAMS.

      HYGIENIC CHANGE OF AIR.

      THE DEVICE, OR IMPRESS.

      A COUNTRY WEDDING IN FRANCE.

      NOBLE INSTANCE OF TURKISH GENEROSITY AND HONESTY.

      LADY BETTY, THE HANGWOMAN.

      THE WILL AND THE WAY.

      PAPER-MILLS.

      LINES TO ——.

      PROCESS FOR PRODUCING TAPERED IRON.

      CONDUCTED BY WILLIAM AND ROBERT CHAMBERS, EDITORS OF 'CHAMBERS'S INFORMATION FOR THE PEOPLE,' 'CHAMBERS'S EDUCATIONAL COURSE,' &c.

      THE ART SEASON.

      Return to Table of Contents

      Returning with the circling year, and advancing pari passu with the multitude of metropolitan musical attractions, comes the more silent reign of the picture exhibitions—those great art-gatherings from thousands of studios, to undergo the ultimate test of public judgment in the dozen well-filled galleries, which the dilettante, or lounging Londoner, considers it his recurring annual duty strictly to inspect, and regularly to gossip in. As places where everybody meets everybody, and where lazy hours can be conveniently lounged away, the exhibitions in some sort supply in the afternoon what the Opera and parties do in the evenings. Nearly all through the summer-day, they are crowded with a softly-rustling, humming, buzzing crowd, coming and going perhaps, taking little heed of the nominal attraction, but sauntering from room to room, or ensconcing themselves in colonies or clusters of chairs, and lounging vacantly in cool lobbies. At energetic sight-seers, who are labouring away, catalogue and pencil in hand, they stare languidly. They really thought everybody had seen the pictures; they know they have: they have stared at them until they became a bore. But this sort of people, who only come once, why, of course, they suppose this sort of people must be allowed to push about as they please. But it is a confounded nuisance; it is really.

      The great army of art amateurs, connoisseurs, and the body who are regarded in the artistic world with far greater reverence—the noted picture buyers and dealers, have come and seen, and gone away again; after having lavishly expended their approbation or disapprobation, and possibly in a less liberal degree, their cash. After the first week or so, the galleries begin to clear of gentlemen of the class in question; even artists have got tired of coming to see their own pictures, particularly if they be not well hung; and so the exhibition is generally handed over during the greater part of its duration to the languid far niente elegant crowd we have seen thronging its corridors. The grand day for the moneyed amateurs, who come to increase their collections, is, however, that of the private view. This generally occurs on a Saturday, and the public is admitted on the following Monday. Within an hour of the opening on the former day, the rooms are crowded with a multitude of notabilities. You see that you are in a special class of society, or rather, in two special classes—literary and artistic on the one hand; wealthy and socially elevated on the other. The fact is evident in the general mutual acquaintanceship which prevails, principally within each respective circle, but by no means exclusively so. First, you are sure to observe a cluster of those peers and members of parliament who busy themselves most in social, literary, and artistic questions. Bishops, too, are regular private-view men; capital judges, moreover, and liberal buyers; and we seldom miss catching a glimpse of some dozen faces, whose proprietors are men standing at the very top of our historic, philosophic, and critical literature, and who move smilingly about, amid the keen but concealed inspection of the crowd, who pass their names in whispers from group to group.

      But the class of regular picture-buyers is quite sui generis. You may pitch upon your man in a moment. Ten to one, he is old, and has all the shrivelled, high-dried appearance of the most far-gone and confirmed bachelorism. Everything about him looks old and old-fashioned. His hair is thin and gray, and he shuffles along on a couple of poor old shanks, which will never look any stouter unless it be under the influence of a fit of the gout. He wears a white neckcloth, arranged with the celebrated wisp-tie—shoes a great deal too big for him—and to his keen, twinkling eyes he applies a pair of heavy horn or silver-set glasses. These old gentlemen appear to know each other as if by magic. They cluster in groups like corks in a basin of water, and then go hobbling eagerly along, peering closely into the more promising works, jerking their heads from side to side, so as to get the painting in as many lights as possible; and full of talk—good critical talk—about the productions in course of inspection. True, there may be something in their observations speaking too much of the technical, and too little of the more ideal faculty. They are greater upon flesh-tints and pearly grays, middle distances and chiaroscuro, than upon conception, expression, or elevation or magnificence of sentiment. Nevertheless, they know thoroughly what appertains to a good picture. They give a work its place in a moment, and assign it to its author by internal evidence, with an unfailing accuracy, which speaks of long training and constant familiarity with all the main studios of London. Perhaps you observe one of our friends apparently fascinated before a particular canvas: he dances about, so as to get it in every angle of light. Then he shuffles off, and brings two other skilful old foggies, holding each by an arm; and the three go through the former ceremony as to the lights, and then lay their heads together; and then our original personage glides softly up to the table where the secretary's clerk sits with pen and ink before him, and whispers. The clerk smiles affably—turns up a register: there are two or three confidential words interchanged; and then he rises and sticks into the frame of the lucky picture a morsel of card, labelled 'Sold;' and leaves the purchaser gloating over his acquisition.

      And where do these pictures go? Frequently to some quiet, solemn old house in the West End, or to some grange or manor far down in the country. The picture-gallery is the nursery of that house—its pride and its boast. Year after year has the silent family of canvas been increasing and multiplying. Their proprietor is, as it were, their father. He has most likely no living ties, and all his thoughts and all his ambitions are

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