Chapter VIII: Part 8

I sometimes think that those who haunt the country, without conscious sense of its many beauties, are apt to learn and love its beauties best. How often the memory of a day’s shooting is indissolubly linked with the pattern of a fading autumn sky, when we have stood at the edge of a stubble field wondering whether the growing twilight will suffice for the last drive. And if this is true of other forms of sport, it is everlastingly true of fishing. There is hardly a remembered day on a Scotch loch, or beside a southern stream, which has not stamped upon it some unfading image of landscape beauty. It was not for that we set forth in the morning, for then the changing lights in a dappled sky counted for no more than a promise of good sport; during those earlier hours there is no feeling but a feeling of impatience to be at work; and the splash of a rising trout, before the rod is joined and ready and the line run through its rings, is heard with a sense of half-resentment lest we should have missed the favourable moment of the day. But as the hours pass, the mind becomes more tranquilly attuned to its surroundings. The keenness of the pursuit is still there, but little by little the still spirit of the scene invades our thoughts, and as we tramp home at nightfall the landscape that was unregarded when we set forth upon our adventure now seems to wrap itself like a cloak around us with a spell that it is impossible to resist. A hundred such visions, born of an angler’s wanderings, come back to me across the space of many years. I can see the reeds etched against a sunset sky, as they spring out of a little loch in the hills above the inn at Tummel. And then, with a changing flash of memory, the broad waters of Rannoch are outspread, fringed by its purple hills. And then, again, in a homelier frame, I can see the willows that border the Lea, their yellow leaves turned to gold under the level rays of the evening sun; and I can hear the nightingale in the first notes of its song as I cross the plank bridge that leads me homeward to the cottage by the stream.

INDEX

Alma-Tadema, Sir Lawrence, 26-41

Barnard, Fred, 217, 218

Barry, James, 119

_Beauty Stone_, the, 251

Bell, Professor: Mrs. Siddons as Lady Macbeth, 167

Bernhardt, Sarah, 233, 237, 238

Black, William, 264

Blake, William, 120

Bleheris: story of the Holy Grail, 148

Boaden, James: Mrs. Siddons as Lady Macbeth, 167

Bohemia Past and Present, 1-11

Bough, Sam, 131

Bret Harte, 215

Brough, Robert Barnabas, 119

Brown, Ford Madox, 126

Brown, Oliver Madox, 52

Browning, Robert, 12

Burne-Jones, Edward, 56-88;
friendship with Alma-Tadema, 31;
appreciation of Rossetti, 49, 56, 86;
paintings referred to, 60;
friendship with William Morris, 86;
paintings at Roman Exhibition, 127;
Du Maurier’s opinion of, 217

Caldecott, Randolph, 216

Clayden, P. W., 164

Clint, George, 109

Collins, Henn, 255

Constable, John, 130

Coquelin, B. C., 233, 234, 240

Cotman, John Sell, 131

Cox, David, 131

Craven, Hawes, 207

Crestien de Troyes--story of the Holy Grail, 148

Crome, John, 131

Crompton, Charles, 253

De Hoogh, 33

Desclée, Mme., 237

Dickens, Charles, 215

Du Maurier, George, 216

Duse, Eleanora, 238

Dyce, William, 125

English School of Painting at the Roman Exhibition, 101-133

Etty, William, 120

Faulkner, Charles, 86

_Faust_, Irving’s preparations for, 206

Fletcher, Charles, 232

Fletcher, Mr., 164

Frith, William Powell, 107

Froude, James Anthony, 264

Furse, 119

Fuseli, Johann Caspar, 119

Gainsborough, Thomas, 113, 114, 115, 129

Geddes, Andrew, 118

George Eliot, 142

Gilbert, Sir William, 247-250

Gregory, E. J., 109

Haydon, B. R., 119

Herschel, Sir F., 255

Hogarth, William, 104-106

Holker, Sir John, 255-257

Holl, Frank, 119

Hook, 131

Hoppner, John, 113, 118

Humour, A Sense of, 213-226

Hunt, Holman, 44, 124;
pre-Raphaelite movement, 43, 50, 121

Irving, Sir Henry, 199-212, 233, 235, 240

Junior of the Circuit, the, 253-263

Keene, Charles, 216

Kemble, Mrs., 163

Kennedy, Mr. Justice, 253, 255

_King Arthur_, Mr. Carr’s version of, for Henry Irving, 210;
music for, written by Sir Arthur Sullivan, 247

Kingsley, Charles, 264

Lang, Andrew, 264

Lawrence, Sir Thomas, 118

Lawson, Cecil, 131

Leech, John, 216, 217

Leighton, Sir Frederick, 19, 35, 128, 234;
paintings at Roman Exhibition, 129

Lewis, John Frederick, 109

Leyland, Fred, referred to, 52

Lorraine, Claude, 131

_Macbeth_, 162-198;
Irving’s reading of, 205

Maclise, Daniel, 108

M‘Connell, W. R., 262

Malory, Sir Thomas, 147

Mason, 131

May, Phil, 217

Meredith, George, 134-146

Mersey, Lord, 255

Millais, Sir John Everett, 13-25, 65;
pre-Raphaelite movement, 43, 50, 121;
paintings referred to, 23, 44, 123;
Rossetti’s praise of, 51;
portrait painting, 119;
paintings at Roman Exhibition, 123;
Du Maurier’s praise of, 217

Montgomery, Walter, 231

Morris, William, 86

Nutt, Alfred: story of the Holy Grail, 150, 160

Opie, John, 119

Orchardson, Sir William, 106

“Parsifal”: origin of legend, etc., 147-161

Pettie, John, 110

Phelps, Edmund (jun.), 231

Phelps, Samuel, 230

Pope, Sam, 255

Pre-Raphaelite Brotherhood--aims and achievements of, etc., 5, 42,
50, 55, 120, 125

Rae, Mr., 45

Raeburn, Sir Henry, 113, 118

Ramsay, Allan, 118

Reynolds, Sir Joshua, 110, 114, 116

Ristori, Mme., 234

Roman Exhibition, English school of painting at, 101-133

Romney, George, 113, 117

Rossetti, Dante Gabriel, 42-55;
paintings referred to, 46, 122;
praise of Millais, 51;
encouragement and appreciation of Burne-Jones, 56, 57;
pre-Raphaelite movement, 43, 50, 55, 121;
paintings at Roman Exhibition, 122;
Du Maurier’s opinion of, 217

Ruskin, John, 125

Russell of Killowen, Lord, 255, 256, 258

Salvini, Tomaso, 234

Sandys, Frederick, 119, 126

Selby, Lord (Mr. Gully), 255

Sex in Tragedy--_Macbeth_, 162-198, 205

Shield, Hugh, 262

Siddons, Mrs.: personation of Lady Macbeth, 166-170, 205

Sitting at a Play, 227-241

Sullivan, Sir Arthur, 242-252

Terriss, William, 202

Terry, Ellen, 201, 210, 239

Terry, Kate, 232

Tissot, Amédée Angelot, referred to, 31

Toole, J. L., 220-226

_Tristram and Iseult_, 147

Trout-fishing, 264-277

Turner, Joseph Mallord William, 131-132;
paintings at Roman Exhibition, 131

Walker, Frederick, 131

Watts, G. F., 119, 128

Wauchier: story of the Holy Grail, 148

Weston, Miss Jessie: story of the Holy Grail, 150, 156

Whistler, James McNeill, 89-100

Wilkie, Sir David, 106

Wills, W. G., 206, 210

Wilson, Richard, 130, 131

Wolfram von Eschenbach: story of the Holy Grail, 149

Zoffany, Johann, 109

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FOOTNOTE:

[1] This essay, which served as introduction to the Catalogue of the English Section of the Exhibition of Fine Arts at Rome, is reprinted by the courtesy of the Exhibition Branch of the Board of Trade.

TRANSCRIBER’S NOTES:

Italicized text is surrounded by underscores: _italics_.

Obvious typographical errors have been corrected.

Inconsistencies in hyphenation have been standardized.