In the course of our journey, the conversation turned upon the several series of the “Clockmaker” I had published, and their relative merits. Mr. Slick appeared to think they all owed their popularity mainly to the freshness and originality of character incidental to a new country.
“You are in the wrong pew here, Squire,” said he; “you are, upon my soul. If you think to sketch the English in a way any one will stop to look at, you have missed a figur’, that’s all. You can’t do it nohow; you can’t fix it. There is no contrasts here, no variation of colours, no light and shade, no nothin’. What sort of a pictur’ would straight lines of any thing make? Take a parcel of sodjers, officers and all, and stretch ‘em out in a row, and paint ‘em, and then engrave ‘em, and put it into one of our annuals, and see how folks would larf, and ask, ‘What boardin’-school gall did that? Who pulled her up out of standin’ corn, and sot her up on eend for an artist? they’d say.
“There is nothin’ here to take hold on. It’s so plaguy smooth and high polished, the hands slip off; you can’t get a grip of it. Now, take Lord First Chop, who is the most fashionable man in London, dress him in the last cut coat, best trowsers, French boots, Paris gloves, and grape-vine-root cane, don’t forget his whiskers, or mous-stache, or breast-pins, or gold chains, or any thing; and what have you got?—a tailor’s print-card, and nothin’ else.
“Take a lady, and dress her in a’most a beautiful long habit, man’s hat, stand-up collar and stock, clap a beautiful little cow-hide whip in her hand, and mount her on a’most a splendiferous white hoss, with long tail and flowin’ mane, a rairin’ and a cavortin’ like mad, and a champin’ and a chawin’ of its bit, and makin’ the froth fly from its mouth, a spatterin’ and white-spottin’ of her beautiful trailin’, skirt like any thing. And what have you got?—why a print like the posted hand-bills of a circus.
“Now spit on your fingers, and rub Lord First Chop out of the slate, and draw an Irish labourer, with his coat off, in his shirt-sleeves, with his breeches loose and ontied at the knees, his yarn stockings and thick shoes on; a little dudeen in his mouth, as black as ink and as short as nothin’; his hat with devilish little rim and no crown to it, and a hod on his shoulders, filled with bricks, and him lookin’ as if he was a singin’ away as merry as a cricket:
When I was young and unmarried,
my shoes they were new.
But now I am old and am married,
the water runs troo,’
Do that, and you have got sunthin’ worth lookin’ at, quite pictures-quee, as Sister Sall used to say. And because why? You have got sunthin’ nateral.
“Well, take the angylyferous dear a horseback, and rub her out, well, I won’t say that nother, for I’m fond of the little critturs, dressed or not dressed for company, or any way they like, yes, I like woman-natur’, I tell you. But turn over the slate, and draw on t’other side on’t an old woman, with a red cloak, and a striped petticoat, and a poor pinched-up, old, squashed-in bonnet on, bendin’ forrard, with a staff in her hand, a leadin’ of a donkey that has a pair of yaller willow saddle-bags on, with coloured vegetables and flowers, and red beet-tops, a goin’ to market. And what have you got? Why a pictur’ worth lookin’ at, too. Why?—because it’s natur’’.
“Now, look here, Squire; let Copley, if he was alive, but he ain’t; and it’s a pity too, for it would have kinder happified the old man, to see his son in the House of Lords, wouldn’t it? Squire Copley, you know, was a Boston man; and a credit to our great nation too. P’raps Europe never has dittoed him since.
“Well, if he was above ground now, alive, and stirrin’, why take him and fetch him to an upper crust London party; and sais you, ‘Old Tenor,’ sais you, ‘paint all them silver plates, and silver dishes, and silver coverlids, and what nots; and then paint them lords with their stars, and them ladies’ (Lord if he would paint them with their garters, folks would buy the pictur, cause that’s nateral) ‘them ladies with their jewels, and their sarvants with their liveries, as large as life, and twice as nateral.’