LITERARY AND ART NOTES.

Evening Star, Issue 726, 2 July 1887, Page 1 (Supplement)

LITERARY AND ART NOTES.

(From Our Special Correspondent.J

London, May 5. Persons reading Miss Devey’s ‘Life of the late Lady Lytton ’ will do well to take the more repulsive statements in that remarkable work cum gmno sails. The author of ‘ Pelham ’ was unquestionably a theatrical humbug, and no doubt heartily abhorred, and to some extent even ill-treated, his wife. Beyond, however, her unsupported word, there is no real evidence to show that the great novelist, dramatist, and statesman was the brutal tyrant and bully Mias Dovey {or, rather, Lady Lytton) paints him. On the other hand, indeed, it is known that many of Bulwer’s intimates and contemporaries, who thoroughly understood the circumstances of the quarrel between husband and wife, sympathised entirely with the former, and pronounced her ladyship an hysterical fraud. The pair were, to speak plainly, thoroughly ill-assorted, and it is a sad pity the deplorable story of their unhappy union should have been raked up again. Unfortunately, Lady Lytton’s vindictiveness knew no bounds. Whilst her husband lived she made his life a misery by constant threats of scandalous public exposures ; and ever since his death this Miss Devey (as her ladyship’s “literary executrix’) has been assailing his memory with the vilest charges. Dickens, I may mention, was convinced that most of Lady Lytton’s stories of ill-treatment were fudge. On one occasion she related to him how the brutal Bulwer had a few days previously, in a hurricane of passion, made his teeth meet through the soft flesh of her arm. Dickens asked to see the mark, which greatly confused her. There was none. Lady Colin Campbell, in black, with a jingling jet-covered cape, a yellow bonnet (of several different shades), and a gigantic bunch of tulips, was the observed of all observers at the Grosvenor private view on Saturday afternoon. Had her ladyship wished to attract attention she could scarcely have worn a more conspicuous costume, unless, perhaps, that of the notable personage (said to be Mrs Dr Longshore Potts), who came clothed from head to foot in bright green emerald plush. Miss Dorothy Dene and her sisters, the former looking very pale and aesthetic, in a quaint costume of steely blue, were much admired. Nevertheless, Sir F. Leighton’s model does not strike me as by any means so pretty as she used to be. The great French actress, Jane Hading, passed through the rooms almost unnoticed, but Ellen Terry in grey frieze, trimmed with chinchilla, and wearing a funny little Paduan hat, met with the usual mobbing. Lady Monckton, Mrs Bancroft. Mrs Starks, and Lady Coleridge wore accompanied by their respective spouses, bat Mrs Kendal came alone, Mr Gladstone, Lord Cross, Mr Lindo Courtenay, Sir Henry Holland, and the colonial delegates looked in during the afternoon, and Messrs Herkomer, Sant, Holman Hunt, and Dicksee represented the Royal Academy. Music sent Charles Halle, Signor ’Piatti, Marie Roze, Mclile Nevada, Mdme. Fohstrom and Miss Minnie Hauck; poetry—Mr Robert Browning; and literature generally—almost everyone worth knowing, from Sir Frederick Pollock, Mr Freeman, Mr Buckle, and “Labby” down to Mr Stead and “ the young man who does art notices for ‘ Lloyds.’" The general opinion seemed to be that Sir Coutts Lindsay’s exhibition is for once rather weak. Certainly it plays second second fiddle to the Academy this year.

The following is an excellent description of the most notable dresses worn at the private views of the Academy and Grosvenor Gallery. The writer says : three o’clock and five on _ Friday the Academy galleries held a variously garbed crowd, so far as the feminine portion of it was concerned. The costumes were of many types; some ultra-fashionable, many highly artistic, and a few forlornly aesthetic. An exceedingly tall and handsome dark woman wore a modern adaptation of a Directoire coat, made in black striped gauze and satin. It was thrown out well at the back, and fell in straight folds to the ground, It opened in front over a skirt of lilac silk veiled with black Chantilly lace. Tiic bodice repeated this, in smaller form, as a vest. The sleeves were made in one large puff from shoulder to elbow. They seemed to fall over a long plain cuff of lilac satin covered with lace, reaching from the wrist to tie elbow. There was a quantity of lace softening the line where the black coat opened on the lilac uuderdrapery. The hat was a high Directoire shape. It was made of black hair lace, embroidered with straw. This novelty in straws is perfectly transparent, so that the arrangement of the hair is plainly visible through it. The hat was turned up at the back, and over the top several thick clusters of lilac blooms were placed, hanging downwards. A costume carried out entirely in different tones of grey was remarkable for the harmonious way in which they blended. There was an overdress, like a polonaise, of silver grey brocade. The design, raised in darker velvet and medium-toned frm , was in stripes. The front was pleated silver-grey silk, bordered on each side by passementerie of silver cord and silver and steel beadwork. Several dresses were made with small circular capes reaching to the elbows, which they seemed to pinion most effectually. To these were added tiny, hoods, looking amusingly inadequate to the size of the wearers’ heads. These garments were combinations of suede-colored cloth, with some more decided tint. All were trimmed with gold embroidery, and either five or six repetitions of this same style were to be seen. The wearer of each possibly expected to shine alone, and no doubt felt unamiably disposed towards her differently colored shadows, A lady who wore a Directoire coat of brown cloth certainly succeeded in astonishing the multitude, In front it had broad deep lapels faced with silk of a lighter shade than the coat. Between the lapels a sky blue silk handkerchief was folded. The coat was double-breasted, and fastened with large bronze buttons. The back was perfectly plain, and fell in one long straight line, entirely innocent of any curve of the figure. Two buttons indicated that the wearer’s waist was not to be looked for where nature had placed it, but directly beneath her shoulder blades. A thick, short umbrella was carried with the coat, as though to make it* still more characteristic. The hat worn was exceedingly becoming, being Directoire in shape, and of brown straw. A dress of faded, depressed-looking, brown-green plush was made perfectly plain. The skirt, which had apparently assumed balloon-like dimensions, was gathered in round the waist in thick folds. Over this dress a white shawl, with a pleasinglyvariegated design, was thrown. The bonnet was of that order known in olden days as coal-scuttle; it was also of plush, and was tied on with brown ribbon. Turning from individual types to those of fashionable dress, the first thing to notice was the eccentricity of some of the new bonnets. One, worn by a lady clad in mastic-colored silk, with a bodice of the new tartan velvet, looked as though it had suffered violence at the hands of its owner. The whole crown was full of indentations, in one of which some red poppies and some loops of mastic-colored ribbon were placed. Another, worn with one of the hooded dresses before described, was crushed horizontally, as though it had been caught in a door and hid not quite recovered the pressure. A beautiful gown was worn by a tall, graceful, fair girl. It was a peculiar shade of grey green silk, touched with velvet deeper in tone. All the draperies were long. This pretty and harmonious shade of green was very much worn. Another good dress of similar hue was in cashmere, and made with a vest of prawn-colored soft silk. A bonnet of straw of the same lovely grey green was trimmed with velvet exactly matching in color, with a bunch of tulips placed in front. The flowers were the same shade as the Vest, and the leaves tnatched the rest df the costume. A very daring mixture of inharmonious blues was worn by a slight fair woman. The dress was of navy blue serge, embroidered with pale blue. Over this a long coat was worn of rough serge. It seemed once to have been blue, but to have faded into a dull; red-mauve hue, agreeing indifferently with the dress tvhich it only partly covered;' This garment was furnished with’ huge pockets, not sinking insignificantly oiit of sight, but laid’ 1 on-id flre mo|t ’tjtqertiy.e manner, •yiie headgear was a piece of bright

purple velvet, stretched tightly and plainly over the head at the back, and arranged in curves above the forehead. Into these curves a purple feather ,vas fastened, which, if it had ever curled, was completely cured of such a weakness. Many of the dresses at the Grosvenor were the same as those worn at the Academy on the previous day. A few, however, were different. • The lady who on Friday wore black and lilac appeared on Saturday in a startling combination of black and bright yellow. Her bonnet was of black lace, with yellow velvet strings, and a group of yellow hyacinths and tulips on one side. Her dress was of black brocade, and her mantle a short one, closely beaded with jet. In it a dozen or so of bright yellow tulips were pinned. A remarkable dress was of beige-colored silk. There was a bodice with short sleeves worn over it of velvet tartan, in which many colors were subtly mingled. The long sleeves were of beige-colored silk, with culls of the velvet tartan. The bonnet was made of beige-colored feathers to imitate straw. Each tiny piece of feather was sewn on separately, row upon row, looking just as straw would look. The effect hardly justified the enormous trouble, as only a very close observer could see that it was feather. It was trimmed with green velvet, and in front was a bunch of natural-looking tulips, which seemed to repeat every color in the tartan over-bodice. A dress of silver grey homespun had a sleeveless coat of the same colored plush, ornamented round the edge with silver cord. This little coat was cut in tabs below the waist, and each tab was lined with pink silk. The skirt was beautifully draped. Hero and there the folds seemingly turned over, giving hints of pink silk lining. The hat was of pink silk, turned up at the back with pink velvet. It was gathered into large pleats above the face, each one of which was lined with pink velvet. A good dress was of dark green cloth with a flounce of blue fox fur. A bronze cloth jacket was worn over it, the front being corded with gold. The bonnet was a harmonious bit of dark red millinery. A girl who wore a dress of crude royal blue broche and adorned her black hat with a ‘market’ bunch of exceedingly yellow primroses proved her love for color, unfortunately of a wrong sort. A mantle of bronze cloth was made with revers of fawncolored cloth braided with bronze and green cord. It had a double front of the fawn color, and could be worn with the revers thrown back or closed. It was over a dress of dark corded green silk. The bonnet worn with it was of black lace, out of which grew lilies of the valley, heliotrope, and white lilac, tied with moss green velvet ribbon. One of the prettiest costumes there was of twine-colored poplin. The bodice was made with a vest of cream crepe. At one side it was bordered with folds of velvet, a shade or two deeper in tone. At the other there was a fern leaf embroidered in silver beads and twine-colored silk. The skirt fell .at the back in perfectly plain folds. At one side these took a graceful curve half way across the front, where they were caught under large velvet bows. The other side was perfectly plain, and was crossed obliquely by narrow bands of silver and tv.ine-colored embroidery. Beneath the velvet bows another embroidered fern leaf appeared, as though laid on the velvet lining. The bonnet worn with this dress was of black velvet, with two wing-like pieces of jet at the back. Besides each of these a piece of pure white gull’s breast feather was laid. A high black-and-white osprey seemed to rise from behind these feathers.' A great many tailor-made habiliments were worn on both days, some of them being of tweed, with an immense check. One small woman wore a dress of this description, in which it was easily seen that two of the squares had been found sufficient to clothe her. On the whole, it was apparent that very special care ami pains had been bestowed upon the toilets, and both occasions might have been called field days of millinery.” The Academy is rich in what may be termed popular pictures this year. It requires but little art training to appreciate the exquisite delicacy and coloring of Sir F. Leighton’s “Last Watch of Hero”—a lovely woman gazing with aching eyes and apprehensive heart out on the stormy sea; or the pitiful tale suggested by Orchardson’s “First Quarrel,” a picture I described to you some time back. Riviere’s “Old World Wanderer a Greek explorer, whoso eyes burn with the fire of discovery, lauding in the rocky bay of an unknown land, whilst countless gulls circle screamingly round—is also a highly attractive work; and the two pretty children in Millais’s “ The Nest ” have always a crowd round them. The second gallery at the Academy is dominated almost entirely by Mr J. M. Waterhouse’s immense canvas, representing Marianne, the wife of Herod the Great, going forth to execution. By the King’s side, triumphant ami unpitying, stands Salome, who has urged on' the execution. Marianne, in a white dress, turns as she descends the white marble stairs, to gaze reproachfully at her husband. Herod’s head is bowed in shame.

Mr G. A. Storey’s 11 Young Prodigal ” deserves special mention, if only because you will certainly see it engraved ere long. A merry party, in the costume of the last century, have been enjoying an al fresco feast outside a country inn. The landlord now presents his hill to the host, who finds he has not money enough to settle it. The silly young prodigal’s face of dismay, his friends’ jeers, and the landlord’s perplexity are all admirably pourtrayed. John Peltie’s 11 Two Strings to Her Bow” is another work of similar character. A coquette walking between two gallants gives an arm to each. The costumes are eighteenth century, and very effective.

At the Grosvenor Mr Burne Jones once again stands facile princeps, 11 The Baleful Head ” represents Perseus satisfying Andromeda’s curiosity with regard to the Medusa. According to the legend, perhaps you remember, Andromeda desired, after her deliverance, to see the head of the creature that had turned the monster and her other enemies to stone, Pprseus, anxious to oblige, showed her the reflection of the horror in a well. The young warrior, in dark armor, stands on one side of a cistern fashioned of jasper and marble. On the other side stands Andromeda. The group is so composed that we see not only the heads of Perseus and Andromeda, and the awful ivory-white beauty of Medusa, but also tho reflections of all three in the water of the well. It is a wonderful picture. Equally fine, in a different way, is Mr W. B, Richmond’s “Icarus preparing for his flight,” which dominates the end of the Western Gallery. Icarus, a tall ideal figure, with a face full of faith and enthusiasm, expands his rose-red wings as he stands on a sheer cliff of basalt high above the blue Mediterranean. Morning has jqst broken, anil the silver sunlight makes a' path along the sea to the base of tho rock, on the summit of which the boy, full of hope, stands before his fatal flight. Mr Calderon’s “In forests deep’’defies description, much as his “Ariadne” did. A lovely maiden, with a sweet pensive face and rich golden dresses, has been bathing on a hot afternoon in a quiet pool in the lonely depths of a deliciously green forest. She has seated herself, still nude, on the mossy bank, and fallen into a reverie, which, judging by the tender light in her eyes, has something to do with love. The 1 Athenreum ’ pronounces Walter Besant’s new story ‘ The World Went Very Well Then ’ his masterpiece. Ohatto and Windus are preparing a new library edition of Besant and Rice’s novels, to be published at 6s a volume. The first will bo tho inimitable 1 Ready-money Mortiboy,’ and contain besides an account by Besant of the literary partnership between the two authors, and a portrait of the late Mr Rico.

There are some good short stories in the May magazines—notably ‘The Importunate Widow,’in ‘Cornhill; ‘Jenny Brooke,’ by Mr Maclaren Cobban, in ‘Longman’s’; and ‘Judith,’ a grim but powerful little tale in thei ‘ Gentleman’s.’

■ ‘ Joyce,’ the new serial commencing in 1 Blackwood’s ’ for May, is attributed to Mrs Walford, author of ‘Mr Smith,’ eta., etc. ‘ The Frozen Pirate, 1 a _ maritime ghost story, by the ever-industrious Clark Russell, will run through ‘ Belgravia'’ between Juno and December.

' Mr Charles W. Wood states Ijhat in addition to '• Lady Grace,’ whicli is quite oomplelje, Mrs Homy' Wood 'has''left touch'finished wbij'k behind bey. There is a long serial story that will run through tho ‘ Argosy ’ of 1888 ; a long “ Johnny Ludlow ” story that

will go through many months of ’B9; another long “ Johnny Ludlow ” story for 1890, ami various short “Johnny Ludlow” stories that will appear in 1891. The last literary work Mrs .Wood completed was a short story by “Johnny Ludlow,” called ‘ Silent For Ever.’ As she laid down tiio pen she remarked to her son : “My work is almost done. It is certain I shall never write much more.” She never wrote another line.

For ‘ Danesbury House,’ out of which the Scottish Temperance League made many thousands of pounds, Mrs Henry Wood received the LIOO prize that was offered only. She did not wish to compete, but was persuaded into doing so by an old friend, the Vicar of Malvern. “My dear madam,” he said, “ here is a work that you can and must do. No one could write a temperance story with your force and vigor ; no one could preach so eloquent a sermon.” When the ‘ Johnny Ludlow ’ papers were beginning to attract attention Mrs Wood suffered some annoyance owing to unprincipled persons claiming their authorship. One scoundrel absolutely swore in Court at Scarborough that lie was “ Johnny Ludlow.” Threatened with proceedings unless he immediately retracted the statement publicly, the follow did so, at the same time urgently begging for mercy. The author of the famous ‘ Obiter Dicta,’ about which there was so much speculation two years ago, turns out to be a Mr Augustus Birrill, a gentleman hitherto unknown to fame.

The interesting letters which Dr Ascel Munthe contributed to a Swedish daily paper whilst he was serving at Naples during the cholera epidemic have been translated by Miss Maude Valerie White under the title of ‘ Letters from a Mourning City,’ and published by Murray in a six-shilling volume. The book is a most interesting one.

I can also recommend Prince Krapotkine’s long-promised description of his residences in French and Russian prisons, and an enthralling book of anecdote on ‘ Duelling Days in the Army.’ Both are published by Ward and Downey at 6s. Recent cheap editions include a “ Primrose ” edition of ‘ Lord Beaconsfield’s Letters,’ at 2s; Jafnes Payn’s delightful ‘Heir of the Ages,’ at 3s Cd; Ouida's ‘ Othmar,’ at 2a ; Miss Spender’s Irish tale, ‘ Till the Day Breaks,’ at 2s; Tighe Hopkins’s ‘Twixt Love and Duty,’ at 2s ; and Mrs Nolley’s ‘ Red Riding Hood,’ at 2s. The last-named I remember as a rather good novel of its class.

Julian Sturgis begins a now story called ‘ Thraldom ’ in ‘ Longman’s ’ for May. An eruption of “shilling shockers” includes ‘ That Imp,’ a short, characteristic story, by the author of and after the manner of ‘Bootle’s Baby’; ‘The Great Hesper,’ a diamond-seeking romance by Frank Barrett, whose recent efforts have not been a patch on ‘Little Lady Linton’; and ‘The Fair Wang,’ a quaint Chinese yarn by the Hon. Lewis Wingfield. The ‘ Saturday Review,’ ‘ Spectator,’ and ‘ Atlienamm ’ unanimously pronounce Hardy’s new novel, ‘ The Woodlanders,’ the • best tiling he has written since ‘ Far from the Madding Crowd.’ Unfortunately, analytical studies of rustic life and character are not to everyone’s taste. I confess I prefer ‘ The Mayor of Casterbridge.’ A six-shilling edition of ‘ The Silence of Dean Maifand ’ lias just been published by Kegan Paul and Co. The author’s real name still remains a mystery. The short stories James Payn has contributed to the magazines during the last few years are being re-issued by Chatto’s in threevolume form as ‘ Glow-worm Tales.’ They are fairly readable, but won’t compare for a moment with the yarns of Payn’s pupil and friend, Grant Allen.