From the number of models
engaged, this picture must have been designed quite regardless of
expense. It is a study of the Antique, but I doubt if Smee would
have called it High Art.
Speaking of Smee reminds me of portraits. I miss "Portrait of a
Lady," "Portrait of a Gentleman;" the names of the sitters are now
always given--a concession to the notoriety-hunting proclivities of
the present period. Few portraits are more in the style of the
palmy days of our school (just after Lawrence) than a study of a
lady by Mr. Goodall (687). On the other hand, young Mr. Richmond
goes back to the antiquated manner of Reynolds in one of his
representations. I must admit that I hear this work much admired
by many; to me it seems old-fashioned and lacking in blandness and
affability. Mr Waterhouse has a study of a subject from a poem
that Mr. Pendennis, the novelist (whom I knew well), was very fond
of when he first came on the town: "The Lady of Shalott." It
represents a very delicate invalid, in a boat, under a counterpane.
I remember the poem ran (it was by young Mr. Tennyson):-
They crossed themselves, their stars they blest,
Knight, minstrel, abbot, squire, and guest.
There lay a parchment on her breast
That puzzled more than all the rest
The well-fed wits of Camelot:
"The web was woven curiously,
The charm is broken utterly;
Draw near and fear not, this is I
The Lady of Shalott.
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