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In short , like every great man , present or past , almost without exception , he is vain . He cuts the skirts of his own coats shorter , to make ^ them look smarter : and only a short time since I found him discussing the cut of his half-boots , and suggesting alterations to his servant , when I went in upon business . The vanity of great men shows itself in different ways , but I believe always exists in some shape or other . " Besides thi « attention to dress , we find the hero had an ttnheroic fondness for bed : — " Lord Wellington is not as easily roused from his bed as he used to be . This is the only change in him ; and it is said he has been in part encouraged to this by having such confidence in General Murray . I understand he was always naturally fond of his pillow . He had rather ride like an express for ten or fifteen leagues , than be early and take time to his work . Upon the whole this may fatigue him less , as being a less time on horseback . "
We have done enough to make the reader form a tolerable idea of the contents , and having done so , leave the book in his hands .
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JNELLY ARMSTRONG . Nelh / Armstrong : A Story of the Day . By the Author of Bo $ e Douglas . 2 Vols . Bentley . We were among the loudest in praise of Hose Douglas , and although the author ' s second novel , Two Families , was inferior to that charming and truthful work , it had scenes which only a skilful hand could have drawn . Our expectation was high on opening Nelly Armstrong , and proportionate our disappointment on finding this " story of the day , " a wearisomely commonplace magazine tale , diluted with an infusion of Calvinism and sentimentality , having neither patient minuteness of detail , nor graphic breadth of passion to interest the reader . Nell y Armstrong is a pretty Scotch girl , innocent but coquettish , full of life and desire , and fond of gossip and admiration . She leaves her village to take a situation as servant in Edinburgh . The opening promised something interesting . The village scenes are skilfully touched , and the characters stand out with dramatic distinctness . In the drawing of Captain McMurdo and his wife , and in Betty , the old servant , we recognise the pencil of Rose Douglas . But when once JS " elly comes to Edinburgh our interest slackens ; partly because there the " preaching" begins , and partly because the story wanders into commonplace . JN " elly is servant in a " good religious family" —the Elliots are people of utter respectability . They allow no " followers ; " but they do a considerable stroke of business in
family prayers . Poor Nelly with her quick sympathies , and the bounding life in her veins , naturally finds virtue intolerably dull ; and meeting with an old acquaintance , a servant in " a gay worldly family , " where parties are given , and "theatres" are not abhorred—consequently a family without " religion , " where servants are without virtue—Nelly is , one foresees , doomed to fall . She is introduced to a handsome gay young clerk , who scoffs at religion and wears conspicuous jewellery ( the invariable accompaniments of a seducer !) , she loves him , and—becomes a mother . After a reasonable amount of suffering and repentance , Nelly dies of that nameless disease so abundant in hectic novels !
The " moral" of this story is precisely the reverse of what the writer thrusts in our faces ; for every reader not trammelled by twaddle will see at once that if Nelly with her innocent guileless generous nature had been allowed to live a human life , instead of being coerced by Calvinistic austerity into what was called " goodness "—if she had been allowed her amusements ( ay , even including indulgence of that fondness for " admiration" which is her main defect ) she would not have been so readily tempted . But if you place a young girl upon a severe regimen of " no followers" and famil y prayers , it is inevitable that admiring clerks and conspicuous jewellery will nave a most seductive effect ! We are sorry to speak so disparagingly of one whose previous works had raised our interest in all she mightproduce ; but the tone of preachment adopted in Nelly Armstrong is oilensively intolerant , and—strange as the assertion may sound to her—irreligious , because untrue . Religion is feeling , not ritual .
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THE NATIONAL INSTITUTION . The men of the Portland Gallery have gained a character for ambition in their choice and treatment of subjects ; and ambition is at least sure of one kind of success , if it misses its especial object . It always commands respect . But the collection this year , as a wnolo , is not remarkable for ambitious designs . There is little more subject-painting , than at tho British Institution , and singularity appears to be tho highest aim with a groat many of tho painters . To be sure the best names are away , or only present in old and second-rate works . Campbell , whose charming littlo p icturo , last year , of the " Stone-cutter * h Daughter , " will be remembered by all who wont to the gallery , is a loading absentee ; and Desanges ,
who , though not always above trickery , cannot , well bo spared , leaves us to mourn for his graceful beauties , and their rich , transparent reflections . Scott Laudor sots no propor Presidential oxamplo of effort . " A CaeciatoVo of tho Abruzzi" is nn , old studio design of liin , and the colours have not improved by time . It ib worth noticing , though ,. for a more than Lamler-Iiko succinctness and vigour . Passrnoro , not JcHH splotchy than usual , Jnis nevertheless improved considerably . His figures are better drawn , and moro distinguishable from the dubs of colour , thrown around them ; and there is interest in hia subjects . " Too late for the Ferry , " by ( Mush , in , if wo aro not mistaken , another old
painting , harder and more elaborate than IhoHo which GImm turns out now . The picture \ h superior to itw title , and holds tho attention longer , perhaps , than any other hero . A cavalier and lady , with an escort of steelcapped folio-worn , are brought to a halt at tho door of a ferry-house . A few of the horsemen aro regaling ; one iu advance is Bij ^ natfing t . li . o boat to return for their party ; and one , who seems to hold an office nearer hia mistress than tho rest , has dismounted to receive her commands . The
same dramatic feeling by which , as we have before observed , Glass is influenced , makes this composition , as it makes his most trivial sketch , a picture . Who remembers , for instance , a sketch exhibited two or three years ago , of a hunted horseman pausing on the brow of a hill , as he turns to reconnoitre P The fearful glance of the man , and his nervous clutch at his pistol P The blood-rimmed eyes , drooped head , and staggering knees of hi 3 poor grey P . Quite different in character is the merit of Underbill ' s pictures . There are two artists who exhibit under that name , painting very much in the same manner ; most probably brothers . It is Frederick Underbill , who alone exhibits this season . His picture of Barnaby Rudge
locked up in the cell of the guard-house , forms an exception to his customary style , which is both natural and graceful , but fitted to subjects of only general interest . The difference between the Underbill pictures and those of Glass , is , that the incidents in the latter are invariably critical , while the Underbills ( who also paint action ) select no point of time which may not continue or recur ; an apt illustration being the beautiful picture exhibited , we think , at the Royal Academy , and called ^ the " Swing . " As painters of natural effects , generally telling upon objectg of beauty , or otherwise of picturesque life , these two Underbills , there ? fore , stand between Glass and W . Hunt .
From numerous crude attempts in subject-painting , we select the " Haidee and Juan" of Mr . I . J . Pittar , representing the scene of Lambro ' s return , and Juan ' s encounter with the piratical crew . Great care is taken to make out a circumstantial account . While Lambro ' s train are engaging Juan , one man is ready with the bow-string , to p inion him , as soon as he shall be got under ; and even the galliot , which is to bear him from the isle , is discernable in the offing . But we miss the " cool old sworder" who disables Juan , and who certainly is not among that rush of tearing savages . Haidee ' s terror is a little too much toned down j while Lambro is rather refined and middle-aged , for Byron ' s description of the " sea-solicitor . " We have chosen the work as instancing the respectability of ambition ; for ( mark the difference !) Mr . Pittar's other and unambitious works are only passable ; and , once passed , they "will not attract us to look at them again .
The absolute success of the exhibition belongs to the landscapes , and their name is Williams . There are river scenes , with sedgy nooks in the foreground , and yellow , twilight skies ; besides harvest moons , glowing sunsets , and Branwhitey snows ; by Alfred , Edward , G . A ., and E . C , Williams , who , together , furnish more than thirty pictures . There are the Olivers , with their spick-and-span scenes from Eheinland , and elsewhere ,- and there are Hulme , Peel , Willis , Cobbett , Dell , Sidney Percy , and Arthur Gilbert ( two more Williamses , these , by the bye ) , with Dibdin and Thorpe not so prominent as usual . Of the " Water Colour" room we can say that it is quite needless to enter it , as Laurence ' s two drawings are hung directly opposite the entrance , and can be seen from that point to the best advantage . They are faces ; one , Thackeray ' s , to the life .
The raised head , slightly depressed vision , and closed mouth , with the chin shooting forward , make up a characteristic expression . The lady portrait , a quiet , homely , good-tempered face , is badl y placed for light , and the consequent glare of white chalk is a serious injury . Laurence has , besides , two portraits in oil—the only two of any merit in the gallery . One is the aged banker-poet , Samuel Hogers ; the other , Professor Goodeve , the anatomist , painted for the Medical College of Calcutta . On the whole , this exhibition is satisfactory . If there is less ambition than usual , there is also less conventionalism . The greatest mastery of subject and material belongs , as we have said , to the landscape painters , among whom we watch tho most decided advance that is taking place in English Art .
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THE MUSICAL SEASON . The return of spring , according to modern meteorology , signifies a relapse into winter . In dther words , by a great " antipodal feat" in the higher circles , our seasons aro becoming Australian ; December and July kiss ono another . Tho swallows return not with returning spring ; but instead of the swallows come tho full-throated prima donnas and robust tenors , sublime fiddlers ( be it said with reverence ) , centipedal violoncellists , hundred-handed double basaes , and myriadfingered pianists . Hector Berlioz , in the Debuts of Thursday , works off a score or two of celebrities in a rapid summary of concerts ; and as it is to be feared thafc these celebrities are now pouring upon our devoted shores , we must sharpen up our critical armoury , and dive deep into tho blue profound of one of tho early volumes of Ella ' s Musical Record , whence we may emerge refreshed by the showor of sparkling technicalities that sparkles on the cabalistic pages of tho learned and hospitable Director . Last Monday may be said to have fairly started tho season with tho fine concert of tho Old Philharmonic , regenerated by the rivalry of the now : Costa was in force , and so was his orchestra : the selection was novel , and tho audience content . On Wednesday , the NEW PHILHARMONIC opened their second campaign with considerable eclat , and with a programme ot equal richness and severity;— -the latter term wo address to the understanding of weak brethren who aro not strict classicists in music , and who have a morbid hunkering after " tune . " In their eyes , indeed , Lindpaintner himself would assume tho form of a reverend chairman rather than of a chef d'orchestre . Hector -. Berlioz i not to be replaced ; but let us Hay at once ( we borrow tho report of a . good judgo , who assisted at this concert as our critique blond ) that Heir JLiiidpaintnor proved himself a conductor of skill mid mettle , at onco sensitive and seir-jMxwewHed , and his orchestra not easily to be surpassed in Europe for fearless impetuosity in
attack , energy and decision of ensemble , though an additional rehearsal or two under mieh a chief as Lindpaintuer would probably add moro delicacy to that strength , more refinement to that impetuosity , and moro sensibility to that massive and overpowering grandeur . Tho notable doings of the concert were the overture- to 2 £ < jmont , \ Aw PriHonor » ' < Jhorus , froiii . AW «/ w > , iuul the Dervishes'Chorus , from the Kuins of Athens , and above all , Mendelssohn ' s inspiration of the mountain and the Hood , of the wolitudes uud tho silences of Nature , the superhuman symphony in A Minor . " Hero , " writes my onthusiastio friend , " the magic is complete . You are swept along by the highland storm ; ovomwed by the solemn , lnyntory of the everlasting mountain * , as the heavens seem to open before you , and the purple mint gathorn up the valley in its lblds . Presently , when all creation , aeoma to Ijo withering hafowi
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March 19 , 1853 . ] THE LEADER . 265
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Leader (1850-1860), March 19, 1853, page 285, in the Nineteenth-Century Serials Edition (2008; 2018) ncse2.kdl.kcl.ac.uk/periodicals/l/issues/vm2-ncseproduct1978/page/21/
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