“‘Admired,’ Gandish goes on, never heeding her,—‘I can show you what the papers said of it at the time—Morning Chronicle and Examiner—spoke most ighly of it. My son as an infant ’Ercules, stranglin the serpent over the piano. Fust conception of my picture of “Non Hangli said Hangeli.”’
“‘For which I can guess who were the angels that sat,’ says father. Upon my word, that old governor! He is a little too strong. But Mr. Gandish listened no more to him than to Mr. Smee, and went on, buttering himself all over, as I have read the Hottentots do. ‘Myself at thirty-three years of age!’ says he, pointing to a portrait of a gentleman in leather breeches and mahogany boots; ‘I could have been a portrait-painter, Mr. Smee.’
“‘Indeed it was lucky for some of us you devoted yourself to high art, Gandish,’ Mr. Smee says, and sips the wine and puts it down again, making a face. It was not first-rate tipple, you see.
“‘Two girls,’ continues that indomitable Mr. Gandish. ‘Hidea for “Babes in the Wood.” “View of Pæstum,” taken on the spot by myself, when travelling with the late lamented Earl of Kew. ‘Beauty, Valour, Commerce, and Liberty, condoling with Britannia on the death of Admiral Viscount Nelson,’—allegorical piece drawn at a very early age after Trafalgar. Mr. Fuseli saw that piece, sir, when I was a student of the Academy, and said to me, ‘Young man, stick to the antique. There’s nothing like it.’ Those were ’is very words. If you do me the favour to walk into the Hatrium, you’ll remark my great pictures also from English ’istry. An English historical painter, sir, should be employed chiefly in English ’istry. That’s what I would have done. Why ain’t there temples for us, where the people might read their history at a glance, and without knowing how to read? Why is my ‘Alfred’ ’anging up in this ’all? Because there is no patronage for a man who devotes himself to Igh art. You know the anecdote, Colonel? King Alfred flying from the Danes, took refuge in a neaterd’s ’ut. The rustic’s wife told him to bake a cake, and the fugitive sovering set down to his ignoble task, and forgetting it in the cares of state, let the cake burn, on which the woman struck him. The moment chose is when she is lifting her ’and to deliver the blow. The king receives it with majesty mingled with meekness. In the background the door of the ’ut is open, letting in the royal officers to announce the Danes are defeated. The daylight breaks in at the aperture, signifying the dawning of ’Ope. That story, sir, which I found in my researches in ’istry, has since become so popular, sir, that hundreds of artists have painted it, hundreds! I who discovered the legend, have my picture—here!’
“‘Now, Colonel,’ says the showman, ‘let me—let me lead you through the statue gallery. ‘Apollo,’ you see. The ‘Venus Hanadyomene,’ the glorious Venus of the Louvre, which I saw in 1814, Colonel, in its glory—the ‘Laocoon’—my friend Gibson’s ‘Nymth,’ you see, is the only figure I admit among the antiques. Now up this stair to the students’ room, where I trust my young friend, Mr. Newcome, will labour assiduously. Ars longa est, Mr. Newcome. Vita——’”
“I trembled,” Clive said, “lest my father should introduce a certain favourite quotation, beginning ‘ingenuas didicisse’—but he refrained, and we went into the room, where a score of students were assembled, who all looked away from their drawing-boards as we entered.
“‘Here will be your place, Mr. Newcome,’ says the Professor, ‘and here that of your young friend—what did you say was his name?’ I told him Rigby, for my dear old governor has promised to pay for J. J. too, you know. ‘Mr. Chivers is the senior pupil and custos of the room in the absence of my son. Mr. Chivers, Mr. Newcome; gentlemen, Mr. Newcome, a new pupil. My son, Charles Gandish, Mr. Newcome. Assiduity, gentlemen, assiduity. Ars longa. Vita brevis, et linea recta brevissima est. This way, Colonel, down these steps, across the courtyard, to my own studio. There, gentlemen,’—and pulling aside a curtain, Gandish says ‘There!’”
“And what was the masterpiece behind it?” we ask of Clive, after we have done laughing at his imitation.
“Hand round the hat, J. J.!” cries Clive. “Now, ladies and gentlemen, pay your money. Now walk in, for the performance is ‘just a-going to begin.’” Nor would the rogue ever tell us what Gandish’s curtained picture was.
Not a successful painter, Mr. Gandish was an excellent master, and regarding all artists save one perhaps a good critic. Clive and his friend J. J. came soon after and commenced their studies under him. The one took his humble seat at the drawing-board, a poor mean-looking lad, with worn clothes, downcast features, and a figure almost deformed; the other adorned by good health, good looks, and the best of tailors; ushered into the studio with his father and Mr. Smee as his aides-de-camp on his entry; and previously announced there with all the eloquence of honest Gandish. “I bet he’s ’ad cake and wine,” says one youthful student, of an epicurean and satirical turn. “I bet he might have it every day if he liked.” In fact Gandish was always handing him sweetmeats of compliments and cordials of approbation. He had coat-sleeves with silk linings—he had studs in his shirt. How different was the texture and colour of that garment, to the sleeves Bob Grimes displayed when he took his coat off to put on his working jacket! Horses used actually to come for him to Gandish’s door (which was situated in a certain lofty street in Soho). The Miss G.’s would smile at him from the parlour window as he mounted and rode splendidly off; and those opposition beauties, the Miss Levisons, daughters of the professor of dancing over the way, seldom failed to greet the young gentleman with an admiring ogle from their great black eyes. Master Clive was pronounced an ‘out-and-outer,’ a ‘swell and no mistake,’ and complimented with scarce one dissentient voice by the simple academy at Gandish’s. Besides, he drew very well. There could be no doubt about that. Caricatures of the students of course were passing constantly among them, and in revenge for one which a huge red-haired Scotch student, Mr. Sandy M’Collop, had made of John James, Clive perpetrated a picture of Sandy which set the whole room in a roar; and when the Caledonian giant uttered satirical remarks against the assembled company, averring that they were a parcel of sneaks, a set of lick-spittles, and using epithets still more vulgar, Clive slipped off his fine silk-sleeved coat in an instant, invited Mr. M’Collop into the back-yard, instructed him in a science which the lad himself had acquired at Grey Friars, and administered two black eyes to Sandy, which prevented the young artist from seeing for some days after the head of the ‘Laocoon’ which he was copying. The Scotchman’s superior weight and age might have given the combat a different conclusion, had it endured long after Clive’s brilliant opening attack with his right and left; but Professor Gandish came out of his painting-room at the sound of battle, and could scarcely credit his own eyes when he saw those of poor M’Collop so darkened. To do the Scotchman justice, he bore Clive no rancour. They became friends there, and afterwards at Rome, whither they subsequently went to pursue their studies. The fame of Mr. M’Collop as an artist has long since been established. His pictures of ‘Lord Lovat in Prison,’ and ‘Hogarth painting him,’ of the ‘Blowing up of the Kirk of Field’ (painted for M’Collop of M’Collop), of the ‘Torture of the Covenanters,’ the ‘Murder of the Regent,’ the ‘Murder of Rizzio,’ and other historical pieces, all of course from Scotch history, have established his reputation in South as well as in North Britain. No one would suppose from the gloomy character of his works that Sandy M’Collop is one of the most jovial souls alive. Within six months after their little difference, Clive and he were the greatest of friends, and it was by the former’s suggestion that Mr. James Binnie gave Sandy his first commission, who selected the cheerful subject of ‘The Young Duke of Rothsay starving in Prison.’