“Here comes Mr. Baker with the proofs. In case you don’t see the P. G. at Galignani’s, I send you an extract from Bayham’s article on the Royal Academy, where you will have the benefit of his opinion on the works of some of your friends:—
“‘617. “Moses Bringing Home the Gross of Green Spectacles,” Smith, R.A.—Perhaps poor Goldsmith’s exquisite little work has never been so great a favourite as in the present age. We have here, in a work by one of our most eminent artists, an homage to the genius of him “who touched nothing which he did not adorn:” and the charming subject is handled in the most delicious manner by Mr. Smith. The chiaroscuro is admirable: the impasto is perfect. Perhaps a very captious critic might object to the foreshortening of Moses’s left leg; but where there is so much to praise justly, the Pall Mall Gazette does not care to condemn.
“‘420. Our (and the public’s) favourite, Brown, R.A., treats us to a subject from the best of all stories, the tale “which laughed Spain’s chivalry away,” the ever new Don Quixote. The incident which Brown has selected is the “Don’s Attack on the Flock of Sheep;” the sheep are in his best manner, painted with all his well-known facility and brio. Mr. Brown’s friendly rival, Hopkins, has selected “Gil Blas” for an illustration this year; and the “Robber’s Cavern” is one of the most masterly of Hopkins’ productions.
“‘Great Rooms. 33. “Portrait of Cardinal Cospetto,” O’Gogstay, A.R.A.; and “Neighbourhood of Corpodibacco—Evening—a Contadina and a Trasteverino dancing at the door of a Locanda to the music of a Pifferaro.”—Since his visit to Italy Mr. O’Gogstay seems to have given up the scenes of Irish humour with which he used to delight us; and the romance, the poetry, the religion of “Italia la bella” form the subjects of his pencil. The scene near Corpodibacco (we know the spot well, and have spent many a happy month in its romantic mountains) is most characteristic. Cardinal Cospetto, we must say, is a most truculent prelate, and not certainly an ornament to his church.
“‘49, 210, 311. Smee, R.A.—Portraits which a Reynolds might be proud of,—a Vandyke or Claude might not disown. “Sir Brian Newcome, in the costume of a Deputy-Lieutenant,” “Major-General Sir Thomas de Boots, K.C.B.,” painted for the 50th Dragoons, are triumphs, indeed, of this noble painter. Why have we no picture of the Sovereign and her august consort from Smee’s brush? When Charles II. picked up Titian’s mahl-stick, he observed to a courtier, “A king you can always have; a genius comes but rarely.” While we have a Smee among us, and a monarch whom we admire,—may the one be employed to transmit to posterity the beloved features of the other! We know our lucubrations are read in high places, and respectfully insinuate verbum sapienti.
“‘1906. “The M’Collop of M’Collop,”—A. M’Collop,—is a noble work of a young artist, who, in depicting the gallant chief of a hardy Scottish clan, has also represented a romantic Highland landscape, in the midst of which, “his foot upon his native heath,” stands a man of splendid symmetrical figure and great facial advantages. We shall keep our eye on Mr. M’Collop.
“‘1367. “Oberon and Titania.” Ridley.—This sweet and fanciful little picture draws crowds round about it, and is one of the most charming and delightful works of the present exhibition. We echo the universal opinion in declaring that it shows not only the greatest promise, but the most delicate and beautiful performance. The Earl of Kew, we understand, bought the picture at the private view; and we congratulate the young painter heartily upon his successful début. He is, we understand, a pupil of Mr. Gandish. Where is that admirable painter? We miss his bold canvasses and grand historic outline.’
“I shall alter a few inaccuracies in the composition of our friend F. B., who has, as he says, ‘drawn it uncommonly mild in the above criticism.’ In fact, two days since, he brought in an article of quite a different tendency, of which he retains only the two last paragraphs; but he has, with great magnanimity, recalled his previous observations; and, indeed, he knows as much about pictures as some critics I could name.
“Good-bye, my dear Clive! I send my kindest regards to your father; and think you had best see as little as possible of your bouillotte-playing French friend and his friends. This advice I know you will follow, as young men always follow the advice of their seniors and well-wishers. I dine in Fitzroy Square to-day with the pretty widow and her daughter, and am yours always, dear Clive, A. P.”