In our last volume we were induced to appropriate nearly six of our
columns to a description of Mr. Haydon's Picture of the Mock Election in
the King's Bench Prison--or rather _the first_ of a series of pictures to
illustrate the Election, the subject of the present notice being the
Second, or the Chairing of the Members, which was intended for the
concluding scene of the burlesque. It will, therefore, be unnecessary for
us here to give any additional explanation of the real life of these
paintings, except so far as may be necessary to the explanation of the
present picture.
The "_Chairing_" was acted on a water butt one evening, but was to have
been again performed in more magnificent costume the next day; just,
however, as all the actors in this eccentric masquerade, High Sheriff,
Lord Mayor, Head Constable, Assessor, Poll Clerks, and Members, were
ready dressed, and preparing to start, the marshal interfered, stopped
the procession, and, after some parley, was advised to send for the
guards.
"About the middle of a sunny day," says Mr. Haydon, "when all was quiet,
save the occasional cracking of a racket ball, while some were reading,
some smoking, some lounging, some talking, some occupied with their own
sorrows, and some with the sorrows of their friends, in rushed six fine
grenadiers with a noble fellow of a sergeant at their head, with bayonets
fixed, and several rounds of ball in their cartouches, expecting to meet
(by their looks) with the most desperate resistance."
"The materials thus afforded me by the entrance of the guards, I have
combined in one moment;" or "I have combined in one moment what happened
at different moments; the _characters_ and _soldiers are all portraits_.
I have only used the poets and painters' license, to make out the second
part of the story, a part that happens in all elections, viz. the
chairing of the successful candidates."
"In the corner of the picture, on the left of the spectator, are three
of the guards, drawn up across the door, standing at ease, with all the
self-command of soldiers in such situations, hardly suppressing a laugh
at the ridiculous attempts made to oppose them; in front of the guards,
is the commander of the enemy's forces; viz.--a little boy with a tin
sword, on regular guard position, ready to receive and oppose them, with
a banner of 'Freedom of Election,' hanging on his sabre; behind him
stands the Lord High Sheriff, affecting to charge the soldiers with his
mopstick and pottle. He is dressed in a magnificent suit of decayed
splendour, with an old court sword, loose silk stockings, white shoes,
and unbuckled knee-bands; his shoulders are adorned with white bows, and
curtain rings for a chain, hung by a blue ribbon from his neck. Next to
him, adorned with a blanket, is a character of voluptuous gaiety,
helmeted by a saucepan, holding up the cover for a shield, and a bottle
for a weapon. Then comes the Fool, making grimaces with his painted
cheeks, and bending his fists at the military; while the Lord Mayor with
his white wand, is placing his hand on his heart with mock gravity and
wounded indignation at this violation of _Magna Charta_ and civil
rights. Behind him are different characters, with a porter pot for a
standard, and a watchman's rattle; while in the extreme distance, behind
the rattle, and under the wall, is a ragged Orator addressing the
burgesses on this violation of the privileges of Election.
"Right over the figure with a saucepan, is a Turnkey, holding up a key
and pulling down the celebrated Meredith; who, quite serious, and
believing he will really sit in the House, is endeavouring to strike the
turnkey with a champagne glass. The gallant member is on the shoulders of
two men, who are peeping out and quizzing.
"Close to Meredith is his fellow Member, dressed in a Spanish hat and
feather, addressing the Sergeant opposite him, with an arch look, on the
illegality of his entrance at elections, while a turnkey has taken hold
of the member's robe, and is pulling him off the water butt with violence.
"The sergeant, a fine soldier, one of the heroes of Waterloo, is smiling
and amused, while a grenadier, one of the other three under arms, is
looking at his sergeant for orders.
"In the corner, directly under the sergeant, is a dissipated young man,
addicted to hunting and sports, without adequate means for the enjoyment,
attended by his distressed family. He, half intoxicated, has just drawn a
cork, and is addressing the bottle, his only comfort, while his daughter
is delicately putting it aside and looking with entreaty at her father.
"The harassed wife is putting back the daughter, unwilling to deprive the
man she loves, of what, though a baneful consolation, is still one; while
the little, shoeless boy with his hoop, is regarding his father with that
strange wonder, with which children look at the unaccountable alteration
in features and expression, that takes place under the effects of
intoxication.
"Three pawnbroker's duplicates, one for the child's shoes, 1_s_. 6_d_.,
one for the wedding ring, 5_s_., and one for the wife's necklace, 7_l_.,
lie at the feet of the father, with the Sporting Magazine; for drunkards
generally part with the ornaments or even necessaries of their wives and
children before they trespass on their own.
"At the opposite corner lies curled up the Head Constable, hid away under
his bed-curtain, which he had for a robe, and slyly looking, as if he
hoped nobody would betray him. By his side is placed a table, with the
relics of a luxurious enjoyment, while a washing tub as a wine cooler,
contains, under the table, Hock, Champagne, Burgundy, and a Pine.
"Directly over the sergeant, on the wall, are written, 'The _Majesti_
of the _Peepel_ for ever--huzza!'--'No military at Elections!' and 'No
Marshal!'--on the standards to the left, are '_Confusion to Credit, and
no fraudulent Creditors_.' In the window are a party with a lady smoking
a hookah; on the ledge of the window, "Success to the detaining Creditor!"
--At the opposite window is a portrait of the Painter, looking down on
the extraordinary scene with great interest--underneath him is, 'Sperat
infestis.'
"On a board under the lady smoking, is written the order of the Lord
Mayor, enjoining _Peace_, as follows:--
"Banco Regis,
Court House, July 16,
In the Sixth year of the
Reign of GEORGE IV.
"Peremptorily ordered--
"That the Special Constables and Headboroughs
of this ancient Bailwick do take into
custody all Persons found in any way committing
a breach of the Peace, during the Procession
of Chairing the Members returned to represent
this Borough.
"SIR ROBERT BIRCH, (Collegian) Lord Mayor.
"'A New Way to pay Old Debts,'--is written over the first turnkey; and
below it, 'N.B. A very old way, discovered 3394 years B.C.;' and in the
extreme distance, over a shop, is--'Dealer in every thing genuine.'
"While the man beating the long drum, at the opposite end, another the
cymbals, and the third blowing a trumpet, with the windows all crowded
with spectators, complete the composition, with the exception of the
melancholy victim behind the High Sheriff.
"I recommend the contemplation of this miserable creature, once a
gentleman, to all advocates of imprisonment for debt. First rendered
reckless by imprisonment--then hopeless--then sottish--and, last of all,
from utter despair of freedom, insane! Round his withered temples is a
blue ribbon, with 'Dulce est pro Patriâ mori,' (it is sweet to die for
one's country); for he is baring his breast to rush on the bayonets of
the guards, a willing sacrifice, as he believes, poor fellow, for a great
public principle. In his pocket he has three pamphlets, 'On Water
Drinking, or The Blessings of Imprisonment for Debt,'--and Adam Smith's
'Moral Essays.'--Ruffles hang from his wrists, the relics of former days,
rags cover his feeble legs, one foot is naked, and his appearance is that
of a decaying being, mind and body."
Such is Mr. Haydon's "Explanation" of his own Picture; and it only
remains for us to give the reader some idea of its most prominent
beauties. As a whole, it is very superior to the "Election," highly as we
were disposed to rate the merits of that performance. The style is
masterly throughout, and every shade of the colouring has all the depth
and richness which characterize works of real genius. There is a spirit
in every touch which differs as much from the softened and soulless
compositions of certain modern artists, as does the florid architecture
of the ancients from the starved proportions of these days, or the rich
and graceful style of the Essayists from the fabrications of little,
self-conceited biographers. In short, the whole scene is dashed off in the
first style of art; the subject and humour are all over English--true to
nature, and so forcible as to seize on the attention of the most listless
beholder.
We must notice a few of the details. The three guards are foremost in the
picture, and in merit; the struggle in their countenances between
discipline and a sense of the ludicrous scene before them is admirably
represented; as well as the little urchin with his tin sword. The centre
figure of the High Sheriff, with his tattered and faded finery of office,
is equally clever; but the skill with which the artist has contrived to
express his forced mirth, and mopstick bravado, is still more forcible.
The troubled countenance of the Lord Mayor is an excellent portrait of
the indignation of little authority when perturbed by men of greater
place. The faces of the turnkey and the sergeant are likewise admirable;
and that of the soldier looking towards the latter for orders, is like an
excellent piece of byplay in the farce. The drunken patriot, behind the
High Sheriff, is well entitled to the attention which the artist, in his
explanation, suggests; but the spectator must not dwell too long on this
sorrowful wreck of fallen nature. The group in the foreground of the
right hand corner, is an episode which must not be omitted, for it
corresponds with the fine portrait in the same situation in the "Election"
picture. The reckless dissipation of the fine, young fox-hunter, the half
intoxicated chuckle with which he holds the bottle, the grief of his
daughter and wife, and the little shoeless boy with his hoop, are finely
contrasted with the rich humour and extravagant burlesque of all around
them. The slyness of the Head Constable, in the left hand corner, half
smothered in his mock robes, is expressively told; and the painter is a
capital likeness.
From the success of Mr. Haydon in the particular line of art requisite
for scenes of real humour, it is not unlikely that his execution of the
first picture, the "Election" may prove one of the most fortunate events
in his professional career, and turn out to be one of the "sweet uses of
adversity," by eliciting talent which he probably did not believe himself
to possess. Much as we admire this style of art, we can but deplore that
purchasers cannot be found for such pictures as his _Entry into
Jerusalem_, and _Judgment of Solomon_, both which, with two others, are
exhibited in the room with the Chairing of the Members. Out of the scores
of new churches which are yearly completed, surely some altar-pieces
might be introduced with propriety; and when we consider the peculiar
influence which such scenes as those chosen by Mr. Haydon are known to
possess over the human heart, we do not think their entire exclusion from
modern churches contributes to their devotional character.
Such pictures are intended for better purposes than mere seclusion in
large galleries and mansions, of which there are but comparatively few in
England; and it is always with regret that we see these noble efforts of
art in such profitless situations. Occasionally a nobleman, or parochial
taste, introduces a valuable painted window, and sometimes an altarpiece
into a church; but we wish the practice were more general.
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