Chambers's Journal of Popular Literature, Science, and Art, No.690: March 17, 1877Various
History
Chambers's Journal of Popular Literature, Science, and Art, No.690: March 17, 1877
Various
Periodicals
Lastly, the brush or hair-pencil does not seem to be regarded as of
such importance as one would imagine by the ordinary artists of our
'pot-banks;'[1] and it is not a little surprising, even to one long
accustomed to the use of the pencil, to observe with what dexterity
the most apparently intractable tuft of hair on the end of a quill can
be brought into subjection by those who can get no better, and whose
living depends upon their ingenuity.
Various kinds of brushes are used. Fine lines are expressed with a
very long-haired thin camel-hair; while ordinary subjects are readily
mastered with a medium size. But for more careful and minute work, such
as heraldic-painting--as less liable to clog--the mounted sable (No. 1,
2, or 3) is the best.
Having satisfied myself that to a certain extent the art of painting
on porcelain may be readily acquired by any one of ordinary
intelligence; its _niceties_, like those of wood-engraving or any
similar accomplishment, are nevertheless to be learned only by long
practice. The mere application of colour within prepared outlines is
often supposed to constitute 'the art of painting,' and there can be
no doubt that, according to dictionary definition, it is _painting_;
but as there is no _art_ in it, so is there no credit due to the
purely mechanical action of the painter's hand. As an amusement, where
practised on artistic principles, porcelain-painting might, amongst
amateurs, lead to pleasing results; but to 'take it up' merely as a
fashion of the day is scarcely worth the trouble, and would be of
comparatively little benefit to those who contribute materials.
FOOTNOTES:
[1] China and earthenware manufactories in Staffordshire are invariably
called _Banks_.
THE STRONG-MINDED WOMAN.
IN TWO CHAPTERS.--CHAPTER I.
'Do you mean to go to the Woman's Rights affair, Earle?' asked one
young man of another from out a cloud of smoke. The two were sitting
one evening in December in the smoking-room of Wilfred Earle, a rising
young artist of the modern school of figure-painters.
'Yes, I do,' replied the one addressed, a fine-looking man of some
five-and-thirty years, with thoughtful dark-blue eyes, a good forehead,
from which the curly brown locks were departing fast, and a fine tawny
beard and moustache. 'I shall go out of mere curiosity though, for of
all offensive articles, to my taste a strong-minded woman is the worst.
Just imagine the horrible bore of being tied for life to a woman who
travelled about the country spouting on woman's rights! As if all
women were not tyrants by nature, without developing the art into a
system. Ugh!' and Earle shuddered.
'I should like to see your ideal woman, Earle,' said his companion.
'You are such a fastidious fellow.'
'Well, I suppose every man _has_ some sort of ideal; mine is a very
vague one. I should not like a heroine of romance, but a comfortable
everyday wife.'
'To darn your stockings, let you smoke all over the house, give you
good dinners; eh?'
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