. John Pettie, , ; . to whichthe painter was as yet only feeling his way. Fullpromise, however, of the future, is in the rich,vibrant tints of The Rehearsal, painted in thesame year, a clever study of an ancient maitre deballet in a garret teaching a child to dance. The Arrest for Witchcraft ensured Pettieselection to one of the Associateships of the RoyalAcademy, which were vacant by the promotion ofBaron Marochetti and INlr. G. Richmond to thehigher rank. He was only twenty-seven ; andthere are few cases on record of such early distinc-tion—Sir Thomas Lawrence, who was made anAss
. John Pettie, , ; . to whichthe painter was as yet only feeling his way. Fullpromise, however, of the future, is in the rich,vibrant tints of The Rehearsal, painted in thesame year, a clever study of an ancient maitre deballet in a garret teaching a child to dance. The Arrest for Witchcraft ensured Pettieselection to one of the Associateships of the RoyalAcademy, which were vacant by the promotion ofBaron Marochetti and INlr. G. Richmond to thehigher rank. He was only twenty-seven ; andthere are few cases on record of such early distinc-tion—Sir Thomas Lawrence, who was made anAssociate, by the wish of George III., when onlytwenty-one ; Millais, whose first election at the ageof nineteen was quashed on account of his youth,but who joined the ranks of the Associates threeyears later ; JNIr. F. Dicksee, who was only twenty-eight ; and Professor Sir Hubert von Herkomerand Mr. Cadogan Cowper, both of whom had justcompleted their thirtieth year when they won the THE REHEARSAL•{Size of original, 23 x 18J.). ;T»>>.^i»i^„aa8gge«tB LONDON AND THE ACADEMY 79 coveted distinction. Though Orchardson wasseveral years his senior, Pettie attained the honoureighteen months before him, and anticipated himby four years in reaching the higher grade. Pettiewas the first, says Sir Walter Armstrong in hisScottish Painters^ to catch the eye of the conceptions were more ambitious, and his artmore voyant: he played, in fact, a trumpet to hiscompanions flageolet. Hence it was that, to theamusement of those they had left behind in Edin-burgh, the London critics talked of Orchardson asif he had moulded himself on Pettie. Their fellow-workers at home knew well enough that, after theteaching of Lauder, the moulding influence overthe whole clique had been the example and thesquare mind of the older man. On the word of the leading painter among those* left behind in Edinburgh, I have it that the lastpart of Sir Walter Armstrongs statement isscarcely true. T
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