Chapter V - Page 2

to be rather attracted by his pictures, self-distrustfully bought one or two of them at prices which would appear so incredibly low, in these days, that I really cannot venture to quote them. The picture was sent home; the nobleman or gentleman (almost always an amiable and a hospitable man) would ask the artist to his house and introduce him to the distinguished individuals who frequented it; but would never admit his picture, on terms of equality, into the society even of the second-rate Old Masters. His work was hung up in any out-of-the-way corner of the gallery that could be found; it had been bought under protest; it was admitted by sufferance; its freshness and brightness damaged it terribly by contrast with the dirtiness and the dinginess of its elderly predecessors; and its only points selected for praise were those in which it most nearly resembled the peculiar mannerism of some Old Master, not those in which it resembled the characteristics of the old mistress--Nature.

The unfortunate artist had no court of appeal that he could turn to. Nobody beneath the nobleman, or the gentleman of ancient lineage, so much as thought of buying a modern picture. Nobody dared to whisper that the Art of painting had in anywise been improved or worthily enlarged in its sphere by any modern professors. For one nobleman who was ready to buy one genuine modern picture at a small price, there were twenty noblemen ready to buy twenty more than doubtful old pictures at great prices. The consequence was, that some of the most famous artists of the English school, whose pictures are now bought at auction sales for fabulous sums, were then hardly able to make an income. They were a scrupulously patient and conscientious body of men, who would as soon have thought of breaking into a house, or equalizing the distribution of wealth, on the highway, by the simple machinery of a horse and pistol, as of making Old Masters to order. They sat resignedly in their lonely studios, surrounded by unsold pictures which have since been covered again and again with gold and bank-notes by eager buyers at auctions and show-rooms, whose money has gone into other than the painter's pockets---who have never dreamed that the painter had the smallest moral right to a farthing of it. Year after year, these martyrs of the brush stood, palette in hand, fighting the old battle of individual merit against contemporary dullness--fighting bravely, patiently, independently; and leaving to Mr. Pickup and his pupils a complete monopoly of all the profit which could be extracted, in their line of business, from the feebly-buttoned pocket of the patron, and the inexhaustible credulity of the connoisseur.

Now all this is changed. Traders and makers of all kinds of commodities have effected a revolution in the picture-world, never dreamed of by the noblemen and gentlemen of ancient lineage, and consistently protested against to this day by the very few of them who still