CONSOLATIONS FOR THE UNHUNG

Now that the painful month of suspense in Studioland is at an end, it behoves us to apply our most soothing embrocation to the wounded feelings of geniuses whose works have boomeranged their way back from Burlington House. Let them remember:

That very few people really look at the pictures in the Academy—they only go to meet their friends, or to say they have been there.

That those who do examine the works of art are wont to disparage the same by way of showing their superior smartness.

That one picture has no chance of recognition with fourteen hundred others shouting at it.

That all the best pavement-artists now give "one-man" shows. They can thus select their own "pitch," and are never ruthlessly skied.

That photography in colours is coming, and then the R.A. will have to go.

That Rembrandt, Holbein, Rubens and Vandyck were never hung at the summer exhibition.

That Botticelli, Correggio and Titian managed to rub along without that privilege.

That the ten-guinea frame that was bought (or owed for) this spring will do splendidly next year for another masterpiece.

That the painter must have specimens of his best work to decorate the somewhat bare walls of his studio.

That the best test of a picture is being able to live with it—or live it down—so why send it away from its most lenient critic?

That probably the chef-d'œuvre sent in was shown to the hanging committee up-side down.

That, supposing they saw it properly, they were afraid that its success would put the Academy to the expense of having a railing placed in front.

And finally, we would remind the rejected one that, after all, his bantling has been exhibited in the R.A.—to the president and his colleagues engaged in the work of selection. Somebody at least looked at it for quite three seconds.

Art Note.—The early Italian style.—An organ-grinder at five o'clock in the morning.

"Rest, Sir?" "No thanks, I can reach 'em."

Our Flat.

Extract from Lady's Correspondence. "—— In fact, our reception was a complete success. We had some excellent musicians. I daresay you will wonder where we put them, with such a crowd of people; but we managed capitally!"

Show Sunday.

Vandyke Browne. "Peace, my dear lady, peace and refinement, those are the two essentials in an artist's surroundings." [Enter Master and Miss Browne. Tableau!

Varnishing Day Amenities.

Little Smudge. "Of course, I know perfectly well my style isn't quite developed yet, but I feel I am, if I might so express it, in a transition stage, don't you know," Brother Brush ("skied" this year). "Ah! I see, going from bad to worse!"