I.—THE ARTISTIC OUTLOOK

A GOOD MANY PEOPLE ARE OF THE opinion that Art and the appreciation of Art are making considerable progress in this country, but others are inclined to be despondent on this subject; and among the most despondent is an estimable clergyman of a parish some miles from Broadminster. He told me that he was confirmed in his pessimism by observing the popularity of the imitation half-timbered, red-brick cottages which country architects are running up by the hundred in every direction. “The foundation of all true Art is Truth,” he said, “and yet we are confronted daily with all the falsehood of creosoted laths curving about ridiculous gables in imitation of the old oak timbering. People hold up their hands in horror at the recollection of the outside stucco of the early Victorians; but where is the difference between the immorality of pretending that bricks are stone and of pretending that creosoted laths are old timbers?”

Of course he had many other instances of the inefficiency of the Schools of Art to fulfil the object of their establishment: there was the villa fireplace, for example, suggesting that its delicate ornamentation was of the fine paste of Robert Adam, when it was simply a horrible thing of cast iron; and what about the prevailing fashion in ladies' dress?...

It was time, he thought, that steps were taken by men of genuine artistic feeling to put people on the right track in regard to Art in daily life; and he expressed to me in confidence the belief that a change could best be brought about by an appeal to the sense of beauty inherent in womankind. He begged the co-operation of one of the Minor Canons at the Cathedral at Broadminster, who had achieved fame on account of his artistic tendencies, and this gentleman consented to deliver an address at a specially convened mothers' meeting in the parish-room of the reformer.

He kept his promise, as every one knew he would. He delivered an address on “The Influence of Cimabue on the later works of Donatello” in the presence of forty-two matrons, nearly all of whom could both read and write; and it was understood that he proved up to the hilt every statement that he made, and any of his audience who may have had some doubt as to the part that Cimabue played in the development of the genius of Donatello must have left the hall feeling that they could no longer hesitate in accepting the relative position of the two artists as defined by the lecturer.

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The next address is, I hear, to be made on the subject of “The Cinquecento and its Sequel.”

That is the way to popularise Art in the country districts. When once the wives and mothers of the farm labourers and the shepherds of the Downs are brought to understand the importance of taking a right view of Cimabue and the Cinquecento, then Art will become a living thing in this country—perhaps even sooner: who can tell?

Equally practical was the response made by a wealthy gentleman who has recently settled near Brindlington to the appeal of the parson to contribute something to the loan collection with which he hoped to second the efforts of the Minor Canon to stimulate an appreciation of good art in his parish. In charge of a traction-engine of large horse-power there was brought in a stone-mason's lorry to the door of the hall a full-size powerful group by Monsieur Rodin, representing an episode in the life of the most flagrantly humorous faun that ever grew, or half-grew, out of a rock under the rough-hewing chisel of the great French artist. At first one did not know that one was looking at a piece of sculpture—one seemed to be looking into a stone quarry. But gradually the idea revealed itself, and then one rather wished that it hadn't. The faun was not one of Nature's gentlemen: you could see that at once; but after a while, with good luck, you became aware of the fact that there was a nymph, or what looked like a nymph, scattered about the quarry—yes, you could see it quite distinctly from certain standpoints, and when you did you rather hoped that you had been mistaken. It was a masterpiece that “Group by M. Rodin.” It might have been taken for a freak of Nature herself—one of those fantastic rocks which are supposed to suggest the head of the first Napoleon or perhaps the Duke of Wellington wearing his cocked hat, or it may be a huge lizard or, if properly humped, a kneeling camel. But whatever it was, there stood the stone quarry brought to the very doors of the hall wherein were “loaned” all the objects of Art contributed by the less ambitious collectors of the neighbourhood, and within were six stalwart men preparing to rig up on a tripod of fifteen-feet ash poles each as thick as a stout tree, a tackle of chains and pulleys for shifting the thing from the truck to the rollers by which it was to be coaxed into the building.

They did not get it beyond the porch. The tiled pavement crumbled beneath it like glass, and the caretaker of the building was doubtful about the stability of the floor within. In the porch it remained until the parson's wife, who had heard the noise of the traction-engine and felt sure that something was going on, arrived upon the scene.

She took a glance at the landscape within the porch, and then ordered a dust-sheet.

Of course the “Group by M. Rodin” was worth more than all the loans within the building; but it was not everybody's group. It remained in the friendly obscurity of the dust-sheet except when some visitor with inquisitive tendencies begged for a glimpse of it. Then the parson, averting his eyes, lifted up a corner of the dust-sheet, and remarked that he was sure that the work would be a noble one when the great sculptor should have cut away all the superfluous stone that lay in great masses about the figures; but even in its unfinished condition anyone could see that it could not weigh much under five or six tons.

I fancy that the gentleman who had contributed this loan was more of a humorist than the parson had suspected.

What I think is the most disappointing feature in connection with the development of Art in the provinces is the lack of interest shown in certain districts in the local productions. The producers are not without honour save in their own county. Of course, if it became a question of saving money, there would be patrons enough of local art; but unhappily the possible patrons are incapable of estimating correctly the money value of such things, and they prefer to give five pounds for a picture by an artist a distance than two for one by a local man, even though they might be assured by some one capable of pronouncing an opinion that the cheaper work was the better.

A few years ago I was made aware of a curious example of this characteristic of some places. It occurred to an enterprising printseller at Broadminster that a spring exhibition of works in black and white might attract attention and enable him to do some business; and with the co-operation of some of the London publishers he managed to get together over two hundred capital examples of modern work, including some proof etchings by Le Rat, David Law, Frank Short, Legros, and others. A local lady, who was understood to be a liberal and well-informed patroness of Art in various forms, visited the exhibition and was greatly attracted by an etching of a spring landscape. Finding the price moderate, she bought it and carried it home with her in her brougham. A week later, however, she returned with it to the printseller.

“Is it true that the Cuthbert Tremaine who did this is only a local man?” she inquired.

The printseller assured her that she was quite right: Cuthbert Tremaine's people belonged to the town, and he had been educated at the Grammar School and the School of Art.

“Do you think it was quite fair of you to hang that from such a person among the etchings that co-exibit here?” she asked.

“He was quite able to hold his own among the best of them,” said the printseller. “He's coming well to the front, I assure you.”

“I don't think that it is at all fair to your customers to try and foist off upon them the work of a local man,” said the lady severely. “An ordinary local man! I wonder very much at your doing such a thing. I have brought the etching back to you, and you must change it for me. You really should have told me that Cuthbert Tremaine was nothing but a local man.”

So much for the encouragement of local talent in our county.

Quite recently a more striking instance of this peculiarity was offered us in a neighbouring town. A local artist held a sale exhibition of water-colour drawings of scenes within a radius of six miles. There were perhaps thirty of these, and every one of them was good, and every one of them was pleasing. There was no suggestion of slovenliness about any, nor was there a hint of an amateur. They were not the sort of drawings that might be referred to as “highly creditable”—nobody wants to possess “highly creditable” things: they must have positive merit, without taking into consideration the conditions under which they are done, before any one who knows something about art would wish to possess them; and the watercolours in this exhibition could certainly claim to be in this light.

Well, cards of invitation were sent to some hundreds of possible buyers, and were heartily responded to, for free exhibitions are very popular in our neighbourhood, especially those that take the form of a demonstration of a new breakfast cereal (with samples gratis). But in the matter of sales the response was not quite so hearty as it might have been. The artist did not clear five pounds during the fortnight that his exhibition remained open.

A month or two later, however, a stranger exhibited a collection of his drawings in the same town, and although they were infinitely inferior in almost every way to those of the local man, they found quite a satisfactory number of purchasers, notwithstanding the fact that there was not a drawing that was not priced at more than double the sum asked by the local artist for his sketches.