The early work of Raphael . the other, in the long hori-zontal line of the rapier and the menacing touch of white on its problem Orchardson had to solve was how to clothe allthis in accessories which would explain, and even heighten, its sig-nificance. Woodstock itself suggested a solution. Within the sameboards as Louis Kerneguy lives Trusty Tomkins, the psalm-singingRoundhead, whose creed may well have allowed a little corner for theduello, no less than for the charms of Phoebe Mayflower. Put him inthe place of the hiding king, set a dissuader in the person of a Puritandivine at hi
The early work of Raphael . the other, in the long hori-zontal line of the rapier and the menacing touch of white on its problem Orchardson had to solve was how to clothe allthis in accessories which would explain, and even heighten, its sig-nificance. Woodstock itself suggested a solution. Within the sameboards as Louis Kerneguy lives Trusty Tomkins, the psalm-singingRoundhead, whose creed may well have allowed a little corner for theduello, no less than for the charms of Phoebe Mayflower. Put him inthe place of the hiding king, set a dissuader in the person of a Puritandivine at his elbow, throw a combination of scruple and a taste forsa, sa into his physiognomy, and you have at once a complete and most paintable drama. # # # # By this time the reader is probably feeling for his pencil, to scribblea sarcastic note on the margin of this page. And indeed the mistakeinto which I have fallen is absurd enough. It has at last dawned uponme, however, that it was not with Woodstock, as I find it in the notes. Charles Moxoti, permission of W. O. Qrchardson, Esq., THE ART OF WILLIAM QUILLER ORCHARDSON 35 to one of my talks with Orchardson, that The Challenge has to do, butwith Peveril of the Peak. There, of course, the scene will be foundalmost exactly as we see it in the picture. The challenger is Sir JasperCranbourne, the challenged Major Bridgenorth, and the dissuasive divineMaster Solsgrace. I am tempted, however, to leave the paragraphas I wrote it, because, although it does not happen to apply to the par-ticular case as well as might be wished, it does explain the kind of processwhich most incidents taken from books have to undergo before theybecome self-contained works of art. *& 3k 3U ^? i\- *iv I have said already that the Queen of the Swords was at the Parisexhibition of 1878. Together with other things from the samestudio it had a very great success both with painters and critics on thesouth side of the Channel. Its happy design, its gal
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Keywords: ., bookcentury1800, bookde, booksubjectraphael14831520, bookyear1895
