“THE ROLL CALL”
I had quite a large number of commissions for military water-colours to
get through on my return home, and an oil of French artillery on the
march to paint, in my little glass studio under St. Boniface Down. But
after my not inconsiderable success with “Missing” at the Academy, I
became more and more convinced that a London studio _must_ be my destiny
for the coming winter. Of course, my father demurred. He couldn’t bear
to part with me. Still, it must be done, and to London I went, with his
sad consent. I had long been turning “The Roll Call” in my mind. My
father shook his head; the Crimea was “forgotten.” My mother rather
shivered at the idea of the snow. It was no use; they saw I was bent on
that subject. My dear mother and our devoted family doctor in London
(Dr. Pollard[4]), who would do anything in his power to help me, between
them got me the studio, No. 76, Fulham Road, where I painted the picture
which brought me such utterly unexpected celebrity.
Mr. Burchett, still headmaster at South Kensington, was delighted to see
me with all the necessary facilities for carrying out my work, and he
sent me the best models in London, nearly all ex-soldiers. One in
particular, who had been in the Crimea, was invaluable. He stood for
the sergeant who calls the roll. I engaged my models for five hours each
day, but often asked them to give me an extra half-hour. Towards the
end, as always happens, I had to put on pressure, and had them for six
hours. My preliminary expeditions for the old uniforms of the Crimean
epoch were directed by my kind Dr. Pollard, who rooted about Chelsea
back streets to find what I required among the Jews. One, Mr. Abrahams,
found me a good customer. I say in my Diary:
“Dr. Pollard and I had a delightful time at Mr. Abrahams’ dingy little
pawnshop in a hideous Chelsea slum, and, indeed, I enjoyed it _far_ more
than I should have enjoyed the same length of time at a West End
milliner’s. I got nearly all the old accoutrements I had so much longed
for, and in the evening my Jew turned up at Dr. Pollard’s after a long
tramp in the city for more accoutrements, helmets, coatees, haversacks,
etc., and I sallied forth with the ‘Ole Clo!’ in the rain to my boarding
house under our mutual umbrella, and he under his great bag as well. We
chatted about the trade ‘_chemin faisant_.’”
[Illustration: CRIMEAN IDEAS.]
I called Saturday, December 13th, 1873, a “red-letter day,” for I then
began my picture at the London studio. Having made a little water-colour
sketch previously, very carefully, of every attitude of the figures, I
had none of those alterations to make in the course of my work which
waste so much time. Each figure was drawn in first without the great
coat, my models posing in a tight “shell jacket,” so as to get the
figure well drawn first. How easily then could the thick, less shapely
great coat be painted on the well-secured foundation. No matter how its
heavy folds, the cross-belts, haversacks, water-bottles, and
everything else broke the lines, they were there, safe and sound,
underneath. An artist remarked, “What an absurdly easy picture!” Yes, no
doubt it was, but it was all the more so owing to the care taken at the
beginning. This may be useful to young painters, though, really, it
seems to me just now that sound drawing is at a discount. It will come
by its own again. Some people might say I was too anxious to be correct
in minor military details, but I feared making the least mistake in
these technical matters, and gave myself some unnecessary trouble. For
instance, on one of my last days at the picture I became anxious as to
the correct letters that should appear stamped on the Guards’
haversacks. I sought professional advice. Dr. Pollard sent me the beery
old Crimean pensioner who used to stand at the Museum gate wearing a
gold-laced hat, to answer my urgent inquiry as to this matter. Up comes
the puffing old gentleman, redolent of rum. I, full of expectation, ask
him the question: “What should the letters be?” “B. O.!” he roars
out--“Board of Ordnance!” Then, after a congested stare, he calls out,
correcting himself, “W. D.--War Deportment!” “Oh!” I say, faintly, “War
Department; thank you.” Then he mixes up the two together and roars, “W.
O.!” And that was all I got. He mopped his rubicund face and, to my
relief, stumped away down my stairs. Another Crimean hero came to tell
me whether I was right in having put a grenade on the pouches. “Well,
miss, the natural _hinference_ would be that it _was_ a grenade, but it
was something like my ‘and.” Desperation! I got the thing “like his
hand” just in time to put it in before “The Roll Call” left--a brass
badge lent me by the War Office--and obliterated the much more
effective grenade.
On March 29th and 30th, 1874, came my first “Studio Sunday” and Monday,
and on the Tuesday the poor old “Roll Call” was sent in. I watched the
men take it down my narrow stairs and said “_Au revoir_,” for I was
disappointed with it, and apprehensive of its rejection and speedy
return. So it always is with artists. We never feel we have fulfilled
our hopes.
The two show days were very tiring. Somehow the studio, after church
time on the Sunday, was crowded. Good Dr. Pollard hired a “Buttons” for
me, to open the door, and busied himself with the people, and enjoyed
it. So did I, though so tired. It was “the thing” in those days to make
the round of the studios on the eve of “sending-in day.”
Mr. Galloway’s agent came, and, to my intense relief, told me the
picture went far beyond his expectations. He had been nervous about it,
as it was through him the owner had bought it, without ever seeing it.
On receiving the agent’s report, Mr. Galloway sent me a cheque at
once--£126--being more than the hundred agreed to. The copyright was
mine.
The days that followed felt quite strange. Not a dab with a brush, and
my time my own. It was the end of Lent, and then Easter brought such
church ceremonial as our poor little Ventnor St. Wilfrid’s could not
aspire to. A little more Diary:
“_Saturday, April 11th._--A charming morning, for Dr. Pollard had a fine
piece of news to tell me. First, Elmore, R.A., had burst out to him
yesterday about my picture at the Academy, saying that all the
Academicians are in quite a commotion about it, and Elmore wants to
make my acquaintance very much. He told Dr. P. I might get £500 for ‘The
Roll Call’! I little expected to have such early and gratifying news of
the picture which I sent in with such forebodings. After Dr. P. had
delivered this broadside of Elmore’s compliments he brought the
following battery of heavy guns to bear upon me which compelled me to
sink into a chair. It is a note from Herbert, R.A., in answer to a few
lines which kind Father Bagshawe had volunteered to write to him, as a
friend, to ask him, as one of the Selecting Committee, just simply to
let me know, as soon as convenient, whether my picture was accepted or
rejected. The note is as follows:
‘DEAR MISS THOMPSON,--I have just received a note from Father
Bagshawe of the Oratory in which he wished me to address a few
lines to you on the subject of your picture in the R.A. To tell the
truth I desired to do so a day or two since but did not for two
reasons: the first being that as a custom the doings of the R.A.
are for a time kept secret; the second that I felt I was a stranger
to you and you would hear what I wished to say from some
friend--but Father Bagshawe’s note, and the decision being over, I
may tell you with what pleasure I greeted the picture and the
painter of it when it came before us for judgment. It was simply
this: I was so struck by the excellent work in it that I proposed
we should lift our hats and give it and you, though, as I thought,
unknown to me, a round of huzzahs, which was generally done. You
now know my feeling with regard to your work, and may be sure that
I shall do everything as one of the hangers that it shall be
_perfectly seen_ on our walls.
I am tired and hurried, and ask you to excuse this very hasty note,
but _accept my hearty congratulations_, and
Believe me to be, dear Miss Thompson,
Most faithfully yours,
J. R. HERBERT.’
I trotted off at once to show Father Bagshawe the note, and then left
for home with my brilliant news.”
While at home at Ventnor I received from many sources most extraordinary
rumours of the stir the picture was making in London amongst those who
were behind the scenes. How it was “the talk of the clubs” and spoken of
as the “coming picture of the year,” “the hit of the season,” and all
that kind of thing. Friends wrote to me to give me this pleasant news
from different quarters. Ventnor society rejoiced most kindly. I went to
London to what I call in the Diary “the scene of my possible triumphs,”
having taken rooms at a boarding house. I had better let the Diary
speak:
“_‘Varnishing Day,’ Tuesday, April 28th._--My real feelings as, laden
like last year, with palette, brushes and paint box, I ascended the
great staircase, all alone, though meeting and being overtaken by
hurrying men similarly equipped to myself, were not happy ones. Before
reaching the top stairs I sighed to myself, ‘After all your working
extra hours through the winter, what has it been for? That you may have
a cause of mortification in having an unsatisfactory picture on the
Academy walls for people to stare at.’ I tried to feel indifferent, but
had not to make the effort for long, for I soon espied my dark battalion
in Room _II. on the line_, with a knot of artists before it. Then began
my ovation (!) (which, meaning a second-class triumph, is _not_ quite
the word). I never expected anything so perfectly satisfactory and so
like the realisation of a castle in the air as the events of this day.
It would be impossible to say all that was said to me by the swells.
Millais, R.A., talked and talked, so did Calderon, R.A., and Val
Prinsep, asking me questions as to where I studied, and praising this
figure and that. Herbert, R.A., hung about me all day, and introduced
me to his two sons. Du Maurier told me how highly Tom Taylor had spoken
to him of the picture. Mr. S., our Roman friend, cleaned the picture for
me beautifully, insisting on doing so lest I should spoil my new
velveteen frock. At lunchtime I returned to the boarding house to fetch
a sketch of a better Russian helmet I had done at Ventnor, to replace
the bad one I had been obliged to put in the foreground from a Prussian
one for want of a better. I sent a gleeful telegram home to say the
picture was on the line. I could hardly do the little helmet alterations
necessary, so crowded was I by congratulating and questioning artists
and starers. I by no means disliked it all. Delightful is it to be an
object of interest to so many people. I am sure I cannot have looked
very glum that day. In the most distant rooms people steered towards me
to felicitate me most cordially. ‘Only send as _good_ a picture next
year’ was Millais’ answer to my expressed hope that next year I should
do better. This was after overhearing Mr. C. tell me I might be elected
A.R.A. if I kept up to the mark next year. O’Neil, R.A., seemed rather
to deprecate all the applause I had to-day and, shaking his head, warned
me of the dangers of sudden popularity. I know all about _that_, I
think.
“_Thursday, April 30th._--The Royalties’ private view. The Prince of
Wales wants ‘The Roll Call.’ It is not mine to let him have, and
Galloway won’t give it up.
“_Friday, May 1st._--The to-me-glorious private view of 1874. I insert
here my letter to Papa about it:
‘DEAREST ----, I feel as though I were undertaking a really
difficult work in attempting to describe to you the events of this
most memorable day. I don’t suppose I ever can have another such
day, because, however great my future successes may be, they can
never partake of the character of this one. It is my first great
success. As Tom Taylor told me to-day, I have suddenly burst into
fame, and this _first time_ can never come again. It has a
character peculiar to all _first things_ and to them alone. You
know that “the _élite_ of London society” goes to the Private View.
Well, the greater part of the _élite_ have been presented to me
this day, all with the same hearty words of congratulation on their
lips and the same warm shake of the hand ready to follow the
introductory bow. I was not at all disconcerted by all these
bigwigs. The Duke of Westminster invited me to come and see the
pictures at Grosvenor House, and the old Duchess of Beaufort was so
delighted with “The Roll Call” that she asked me to tell her the
history of each soldier, which I did, the knot of people which, by
the bye, is always before the picture swelling into a little crowd
to see me and, if possible, catch what I was saying. Galloway’s
tall figure was almost a fixture near the painting. That poor man,
he was sadly distracted about this Prince of Wales affair, but the
last I heard from him was that he _couldn’t_ part with it.
Some one at the Academy offered him £1,000 for it, and T. Agnew
told him he would give him anything he asked, but he refused those
offers without a moment’s hesitation. He has telegraphed to his
wife at Manchester, as he says women can decide so much better than
men on the spur of the moment. The Prince gives him till the dinner
to-morrow to make up his mind. The Duchess of Beaufort introduced
Lord Raglan’s daughters to me, who were pleased with the interest I
took in their father. Old Kinglake was also introduced, and we had
a comparatively long talk in that huge assembly where you are
perpetually interrupted in your conversation by fresh arrivals of
friends or new introductions. Do you remember joking with me, when
I was a child, about the exaggerations of popularity? How strange
it felt to-day to be realizing, in actual experience, what you
warned me of, in fun, when looking at my drawings. You need not be
afraid that I shall forget. What I _do_ feel is great pleasure at
having “arrived,” at last. The great banker Bunbury has invited me
and a friend to the ball at the Goldsmiths’ Hall on Wednesday
night. He is one of the wardens. Oh! if you could only come up in
time to take me. Col. Lloyd Lindsay, of Alma fame, and his wife
were wild to have “The Roll Call.” She shyly told me she had cried
before the picture. But, for enthusiasm, William Agnew beat them
all. He came up to be introduced, and spoke in such expressions of
admiration that his voice positively shook, and he said that,
having missed purchasing this work, he would feel “proud and happy”
if I would paint him one, the time, subject and price, whatever it
might be, being left entirely to me. Sir Richard Airey, the man who
wrote the fatally misconstrued order on his holster and handed it
to Nolan on the 25th October, 1854, was very cordial, and showed
that he took a keen pleasure in the picture. I told him I valued a
Crimean man’s praise more than anybody else’s, and I repeated the
observation later to old Sir William Codrington under similar
circumstances, and to other Crimean officers. One of them, whose
father was killed at the assault on the Redan, pressed me very hard
to consent to paint him two Crimean subjects, but I cannot promise
anything more till I have worked out my already too numerous
commissions, old ones, at the horrible old prices.
Sir Henry Thompson, a great surgeon, I understand, was very polite,
and introduced his little daughter who paints. Lady Salisbury had a
long chat with me and showed a great intelligence on art matters.
Many others were introduced, or I to them, but most of them exist
as ghosts in my memory. I have forgotten some of their names and,
as some only wrote their addresses on my catalogue, I don’t know
who is who. The others gave me their cards, so that is all right.
Horsley, R.A., is such a genial, hearty sort of man. He says he
shouldn’t wonder if my name was mentioned in the Royal speeches at
the dinner. Lady Somebody introduced me to Miss Florence
Nightingale’s sister, who wanted to know if there was any
possibility of my “most kindly” letting the picture be taken, at
the close of the exhibition, to her poor sister to see. Miss
Nightingale, you know, is now bedridden. Now I must stop. More
to-morrow....’
I remember how on the following Sunday my good friend Dr. Pollard, who
lived close to my boarding house, waylaid me on my way to mass at the
Oratory, and from his front garden called me in stentorian tones, waving
the _Observer_ over his head. On crossing over I learnt of the speeches
of the Prince of Wales and the Duke of Cambridge at the Academy banquet
the evening before, in which most surprising words were uttered about me
and the picture.
“_Monday, May 4th_.--The opening day of the Royal Academy. A dense crowd
before my grenadiers. I fear that fully half of that crowd have been
sent there by the royal speeches on Saturday. I may say that I awoke
this morning and found myself famous. Great fun at the Academy, where
were some of my dear fellow students rejoicing in the fulfilment of
their prophecies in the old days. Overwhelmed with congratulations on
all sides; and as to the papers, it is impossible to copy their
magnificent critiques, from _The Times_ downwards.
“_Wednesday, May 6th_.--The Queen had my picture abstracted from the
R.A. last night to gaze at, at Buckingham Palace! It is now, of course,
in its place again. Went with Papa to the brilliant Goldsmiths’ Ball,
where I danced. I was a bit of a lion there, or shall I say lioness? Sir
William Ferguson was introduced to me; and he, in his turn, introduced
his daughter and drank to my further success at the supper. Sir F.
Chapman also was presented, and expressed his astonishment at the
accuracy of the military details in my picture. He is a Crimean man. The
King of the Goldsmiths was brought up to me to express his thanks at my
‘honouring’ their ball with my presence. The engravers are already at me
to buy the copyright, but my dear counsellor and friend, Seymour Haden,
says I am to accept nothing short of £1,000, and get still more if I
can!
“_May 10th_.--The Dowager Lady Westmoreland, who is about 80, and who
has lost pleasure in seeing new faces, when she heard of my Crimean
picture, expressed a great wish to see me, and to-day I went to dine at
her house, meeting there the present earl and countess, an old Waterloo
lord, and Henry Weigall and his wife, Lady Rose. The dear old lady was
so sweet. She was the Duke of Wellington’s favourite niece, and his
Grace’s portraits deck the walls of more than one room. Her pleasure was
in talking of the Florence of the old pre-Austrian days, where she lived
sixteen years, but my great pleasure was talking with the earl and the
Waterloo lord, who were most loquacious. Lord Westmoreland was on Lord
Raglan’s staff in the Crimea.
“_May 11th_.--Received cheque for the ‘San Pietro in Vincoli’ and
‘Children of St. Francis.’ My popularity has _levered_ those two poor
little pictures off. Messrs. Dickinson & Co. have bought my copyright
for £1,200!!!”
There follows a good deal in the Diary concerning the trouble with Mr.
Galloway, who made hard conditions regarding his ceding “The Roll Call”
to the Queen, who wished to have it. He felt he was bound to let it go
to his Sovereign, but only on condition that I should paint him my next
Academy picture for the same price as he had given for the one he was
ceding, and that the Queen should sign with her own hand six of the
artist’s proofs when the engraving of her picture came out. I had set my
heart on painting the 28th Regiment in square receiving the last charge
of the French Cuirassiers at Quatre Bras, but as that picture would
necessitate far more work than “The Roll Call,” I could not paint it for
that little £126--so very puny now! So I most reluctantly suggested a
subject I had long had _in petto_, “The Dawn of Sedan,” French
Cuirassiers watching by their horses in the historic fog of that
fateful morning--a very simple composition. To cut a very long story
short, he finally consented to have “Quatre Bras” at my own price,
£1,126, the copyright remaining his. All this talk went on for a long
time, and meanwhile, all through the London society doings, I made oil
studies of all the grey horses for “Sedan.” The General Omnibus Company
sent me all shades of grey _percherons_ for this purpose. I also made
life-size oil studies of hands for “Quatre Bras,” where hands were to be
very strong points, gripping “Brown Besses.” So I took time by the
forelock for either subject. I was very fortunate in having the help of
wise business heads to grapple with the business part of my work, for I
have not been favoured that way myself.
There is no mention in the Diary of the policeman who, a few days after
the opening of the Academy, had to be posted, poor hot man, in my corner
to keep the crowd from too closely approaching the picture and to ask
the people to “move on.” That policeman was there instead of the brass
bar which, as a child, I had pleased myself by imagining in front of one
of my works, _à la_ Frith’s “Derby Day.” The R.A.’s told me the bar
created so much jealousy, when used, that it had been decided never to
use it again. But I think a live policeman quite as much calculated to
produce the undesirable result. I learnt later that his services were
quite as necessary for the protection of two lovely little pictures of
Leighton’s, past which the people _scraped_ to get at mine, they being,
unfortunately, hung at right angles to mine in its corner. What an
unfortunate arrangement of the hangers! Horsley told me that they went
every evening after the closing, with a lantern, to see if the two gems
had been scratched. They were never seen. I wonder if Leighton had any
feelings of dislike towards “that girl.” She who in her ‘teens records
her prostrations of worship before his earlier works, ere he became so
coldly classical.
It is a curious condition of the mind between gratitude for the
appreciation of one’s work by those who know, and the uncomfortable
sense of an exaggerated popularity with the crowd. The exaggeration is
unavoidable, and, no doubt, passes, but the fact that counts is the
power of touching the people’s heart, an “organ” which remains the same
through all the changing fashions in art. I remember an argument I once
had with Alma Tadema on this matter of touching the heart. He laughed at
me, and didn’t believe in it at all.
“_Tuesday, May 12th._--Mr. Charles Manning and his wife have been so
very nice to me, and this morning Mrs. M. bore me off to be presented to
His Grace of Westminster, with whom I had a long interview. What a face!
all spirit and no flesh. After that, to the School of Art Needlework to
meet Lady Marion Alford and other Catholic ladies. I ordered there a
pretty screen for my studio on the strength of my £1,200! Thence I
proceeded on a round of calls, going first to the Desanges, where I
lunched. There they told me the Prince of Wales was coming at four
o’clock to see the Ashanti picture Desanges is just finishing. They
begged me to come back a little before then, so as to be ready to be
presented when the moment should arrive. I returned accordingly, and
found the place crowded with people who had come to see the picture. As
soon as H.R.H. was announced, all the people were sent below to the
drawing-room and kept under hatches until Royalty should take its
departure; but I alone was to remain in the back studio, to be handy.
All this was much against my will, as I hate being thrust forward. But,
as it turned out, there was no thrusting forward on this occasion, and
all was very nice and natural. The Prince soon came in to where I was,
Mr. Desanges saying ‘Here she is’ in answer to a question. His first
remark to me was, of course, about the picture, saying he had hoped to
be its possessor, etc., etc., and he asked me how I had got the correct
details for the uniforms, and so on, having quite a little chat. He
spoke very frankly, and has a most clear, audible voice.”
Of course, the photographers began bothering. The idea of my portraits
being published in the shop windows was repugnant to me. Nowadays one is
snapshotted whether one likes it or not, but it wasn’t so bad in those
days; one’s own consent was asked, at any rate. I refused. However, it
had to come to that at last. My grandfather simply walked into the shop
of the first people that had asked me, in Regent Street, and calmly made
the appointment. I was so cross on being dragged there that the result
was as I expected--a rather harassed and coerced young woman, and the
worst of it was that this particular photograph was the one most widely
published. Indeed, one of my Aunts, passing along a street in Chelsea,
was astonished to see her rueful niece on a costermonger’s barrow
amongst some bananas!