That very few people really look at the pictures in the Academy—they only go to meet their friends, or to say they have been there.
That those who do examine the works of art are wont to disparage the same by way of showing their superior smartness.
That one picture has no chance of recognition with fourteen hundred others shouting at it.
That all the best pavement-artists now give "one-man" shows. They can thus select their own "pitch," and are never ruthlessly skied.
That photography in colours is coming, and then the R.A. will have to go.
That Rembrandt, Holbein, Rubens and Vandyck were never hung at the summer exhibition.
That Botticelli, Correggio and Titian managed to rub along without that privilege.
That the ten-guinea frame that was bought (or owed for) this spring will do splendidly next year for another masterpiece.
That the painter must have specimens of his best work to decorate the somewhat bare walls of his studio.
That the best test of a picture is being able to live with it—or live it down—so why send it away from its most lenient critic?