1 20 17 https://artistsathome.emorydomains.org/files/original/150176399d57107d7a7ed76c6586d8e8.png 11aac8d603b04ac4a408f37017af4df9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Press Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document Of “Artists at Home”—photographs by Mr. Mayall and text by Mr. F. G. Stephens—we have received the first five numbers. To us, we confess it, the publication, if in some sort useful, is absolutely devoid of interest. Mr. Stephens’s text is not much more than catalogue; and Mr. Mayall’s photographs—or rather, the photo-engravings on copper plates reproduced therefrom—are singularly lifeless and dull. Everybody looks as though he were sitting for his portrait; the very furniture is posing; and over all is that terrible and tremendous presence, the photographer’s light, “the light that never was on sea or land.” Mr. Calderon affronts the camera with much sternness; Sir John Gilbert has the sun in his eyes, and comes out very white and vague; Mr. Boehm, sitting desultorily among busts and statues, seems to have been caught in the act of reading the paper; while Mr. Alma Tadema, as unlike himself as possible, leans boldly and airily on the chimney-piece, and Mr. Frank Dicksee, austere yet frightened, does even as Mr. Alma Tadema, and Mr. Val Prinsep turns from his picture with a frown, as if he felt inclined to wring the photographer’s neck. Other artists presented to the public are Mr. Webster, the President (a sufferer, but resigned), Mr. Redgrave, Mr. Cousins, Mr. Millais, Mr. Pettie, Mr. Marshall, and Mr. Marcus Stone. The book, which is published by Messrs. Sampson Low, is written with all Mr. Stephens’s wonted emphasis on intimacy and exactness, and will probably be quite as popular as it deserves. Original Format Text pages Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Art in September," Magazine of Art, 1884 Date Created Date of creation of the resource. September 1884 Source A related resource from which the described resource is derived The Magazine of Art, vol. 7 (September 1884): xlviii Subject The topic of the resource Artists at Home by J. P. Mayall and F. G. Stephens (1884) Abstract A summary of the resource. A decidedly negative review of the first five installments of Artists at Home, with objections to its lackluster text and lifeless photographic portraits. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. F. G. Stephens, Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884). William Wordsworth, “Elegiac Stanzas Suggested by a Picture of Peele Castle in a Storm, Painted by Sir George Beaumont.” Rights Information about rights held in and over the resource Public Domain in the United States, Google-digitized Identifier An unambiguous reference to the resource within a given context Review_MagOfArt_9.84 Contributor An entity responsible for making contributions to the resource The Magazine of Art, Google Books http://hdl.handle.net/2027/mdp.39015080283537 Omeka record contributed by Linda Merrill Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). October 20, 2016 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Press Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document “Artists at Home.” –The sixth part of this fine-art publication contains photographs with biographical sketches of Edward John Poynter, R.A., Thomas Oldham Barlow, R.A., Robert Walker Macbeth, A.R.A., George Adolphus Storey, A.R.A., and the Right Hon. W. E. Gladstone, M.P. The portraits, surrounded as they are with the handiwork of the several gentlemen named, are excellent representations of the originals; but why Mr. Gladstone should be put down as “an artist at home” is not clearly defined, unless he may be claimed from the fact of his being “an honorary member and professor of ancient history in the Royal Academy.” Otherwise although the portrait will no doubt be very acceptable to a great many, we cannot conceive its right of insertion in such a production as “Artists at Home.” Original Format Newspaper article Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Artists at Home," Colonies and India, 1884 Date Created Date of creation of the resource. September 1884 Creator An entity primarily responsible for making the resource Anon. Source A related resource from which the described resource is derived Colonies and India, September 26, 1884. Newspaper Archive. Subject The topic of the resource Artists at Home Abstract A summary of the resource. A notice published after the sixth and final fascicle was released, mainly questioning the inclusion of W. E. Gladstone in the collection. Rights Information about rights held in and over the resource Public domain Contributor An entity responsible for making contributions to the resource Omeka record contributed by Linda Merrill Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). November 17, 2016 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Press Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document Artists at Home (Sampson Low, Marston, Searle, & Rivington) gives us notices of Messrs. G. F. Watts, R.A., W. H. Thornycroft, A.R.A., W. F. Yeames, R.A., and J. MacWhirter, A.R.A. In the illustrations—each a full-page plate, photographed by Mr. J. P. Mayall, and reproduced in facsimile by photo engraving on copper-plates—Mr. Watts is sitting, surrounded by his pictures, in the chamber which he built to contain them; Mr. Thornycroft, in his studio, is at work upon a bust; Mr. Yeames, brush in hand, is busy with a canvas; and Mr. MacWhirter, the Scottish artist, is also adding touches to a picture, the subject of which is somewhat indistinct. In each case the letterpress gives an interesting biographical sketch, and a more than usually full notice of the artist’s principal productions, the fullness of detail on the latter hand adding very materially to the interest with which the members of the artistic fraternity and the genuine amateur will look through the pages. The portraits of the artists are all good and lifelike, and in the page given to Mr. Watts the photographer has had more than his usual success in bringing out the pictures which surround their famous author on the walls. With four parts of the work before us, it is not too much to say that the promise of the prospectus has been more than justified, and that “Artists at Home” will when completed form a book of national importance and of the highest interest. Original Format Journal article Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Magazines for June," Publisher's Circular, 1884 Date Created Date of creation of the resource. June 1884 Creator An entity primarily responsible for making the resource Anon. Source A related resource from which the described resource is derived The Publishers’ Circular 47, no. 1122 (June 16, 1884): 571. Nineteenth Century Serials Edition. Subject The topic of the resource Artists at Home Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant ||||osm A favorable review written after the fourth fascicle had been issued, praising the quality of the photographs and naming the publication "a book of national importance." Rights Information about rights held in and over the resource Public domain Contributor An entity responsible for making contributions to the resource Omeka record contributed by Linda Merrill Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). November 17, 2016 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Press Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document Here is a batch of art items. – . . . . The June number of “Artists at Home” contains portraits and views of the studios of G. F. Watts, R.A., W. H. Thornycroft, A.R.A., W. F. Yeames, R. A., and J. MacWhirter, A.R.A. Considering that this is a purely artistic work, it is surprising that the artists represented have not exercised a more beneficial control over the arrangement and production of the pictures. . . . Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Our Note Book," Illustrated London News, 1884 Date Created Date of creation of the resource. July 1884 Creator An entity primarily responsible for making the resource Anon. Source A related resource from which the described resource is derived The Illustrated London News 35 (July 12, 1884): 26 Subject The topic of the resource Artists at Home Abstract A summary of the resource. A brief notice, describing Artists at Home as "purely artistic," and wondering about the artists' involvement in the project. Rights Information about rights held in and over the resource Public domain Contributor An entity responsible for making contributions to the resource Omeka record by Linda Merrill Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). November 17, 2016 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Press Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document “ARTISTS AT HOME.” Parts I. to III. (Sampson Low and Co.) –This publication does hardly more than the one just mentioned,<a title="" href="#_ftn1">[1]</a> to admit the public into the real sanctuaries of the life artistic. True, a large and in some cases skilled photograph, taken by Mr. Mayall, and reproduced by photo-engraving, accompanies the notice of each artist which Mr. F. G. Stephens has written. But these plates do not show us the artists really at home; or, at least, they show them only as they are at home to the photographer. All the handsome furniture has been piled into that part of the room which is represented in the plate, while the owner of the studio has posed himself gracefully at the right point. The portraits of Mr. Millais and Mr. Marcus Stone are excellent likenesses, but those of Mr. Alma-Tadema and Mr. Pettie somehow miss the distinguishing characteristics of the two men. <div> <div> <a title="" href="#_ftnref1">[1]</a> Maurice B. Adams, Artists’ Homes, published December 1883. </div> </div> Original Format Journal article Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Reviews," Art Journal, 1884 Date Created Date of creation of the resource. 1884 Creator An entity primarily responsible for making the resource Anon. Source A related resource from which the described resource is derived The Art Journal 46 (1884): 256. Subject The topic of the resource Artists at Home Abstract A summary of the resource. A frequently quoted review published after the third fascicle was issued criticizing the artificiality of the photographs and the likenesses of some of the portraits. Rights Information about rights held in and over the resource Public domain Contributor An entity responsible for making contributions to the resource Omeka record contributed by Linda Merrill Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). November 17, 2016 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Press Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document This is the title of a serial publication which promises to be one of great interest, utility, and beauty. Messrs. Sampson Low and Co. are the publishers, and the aim of the work is to supply representations of living artists at work or otherwise, in their studios, together with biographical accounts of the said artists. Each monthly part is to contain four plates and four biographies. The plates are reproductions of photographs, on copper, and by the aid of the process known as photo-engraving. Mr. Mayall is the artist, and he has succeeded in furnishing pictures “which are not merely absolute facsimiles of the originals, but which bring out admirably the middle tints so often found wanting in the photograph from which they are taken, and which have hitherto been a characteristic only of high-class steel-engravings.” The four plates in the part (No. 1) now before us represent Sir Frederic Leighton, Mr. W. C. Marshall, Mr. T. Webster, and Mr. V. C. Prinsep, in their workrooms, and in their habits as they live there. The portraits of the artists are admirable as likenesses, and the details of the studios themselves are admirably brought out. The tint of the plates is something between that of the photograph and the platinotype. It is black, and it is evidently permanent. The biographies are from the highly competent pen of Mr. F.G. Stephens, who supplies a variety of interesting particulars, especially in regard to the works and studies of the artists treated. Thus, of Mr. Prinsep’s house and work-room Mr. Stephens says: Mr. Prinsep’s house was designed for him by Mr. Philip Webb, and, in its stately homeliness and breadth of character, is well suited to the ways and studies of the owner. Large, solid, and massive without, and admirably finished in design and execution, its wide and comfortable windows, smooth, dark red brickwork and high-pitched roofs of tiles, are, without being heavy or austere, very sincere and picturesque. Within, rich and sober colours prevail, and set off an abundance of sumptuous porcelain and other ceramics, sketches made in India and in Italy, studies for pictures by the artist and his friends, antiquities and oriental arms. Some of Mr. Prinsep’s Japanese ware is well known to collectors and of extraordinary preciousness. Considerably over six feet in height, and of massive proportions, the painter himself sits in the photograph before his easel, as if he had just turned from the portrait of a lady, which, till the moment, occupied him. On our right is a charming picture destined for the next Academy, and entitled “The Bookworm.” Its design explains itself. Other paintings and some portraits are on the walls and easels; a piece of tapestry hangs on the railing of the gallery which extends along the wall of the chamber on that side. This studio, although it is by no means the largest of its class, is a capital example of a modern chamber of that sort. Lighted chiefly by an immense northward facing window, it is warmed by more than one stove, and fitted with all the appurtenances of a painter’s use. The walls are coloured dark maroon-red; the coved ceiling which appears in the photograph, with the dormer windows on the south side admitting sunlight at will, is white. Large tables are loaded with books, drawings, prints, implements and studies of all kinds. The serial will be, indeed, as valuable from a literary and critical, as from an artistic, point of view. The size adopted is imperial quarto, and the letterpress is well printed on fine paper with an ample margin. The work, when completed, will be a veritable ourrage de luxe, and it is one of which every lover of art will be anxious to become the possessor. Original Format Newspaper article Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Reviews: 'Artists at Home,'" Derby Mercury, 1884 Date Created Date of creation of the resource. March 26, 1884 Creator An entity primarily responsible for making the resource Anon. Format The file format, physical medium, or dimensions of the resource Newspaper article Source A related resource from which the described resource is derived The Derby Mercury (Derby, England), issue 8828, March 26, 1884. 19th Century British Library Newspapers: Part II. Abstract A summary of the resource. A mostly descriptive but complimentary review of Artists at Home, one of the earleist published, including a substantial excerpt from Stephens's biographical sketch of Val Prinsep. Rights Information about rights held in and over the resource Public domain Contributor An entity responsible for making contributions to the resource Omeka record contributed by Linda Merrill https://artistsathome.emorydomains.org/files/original/ae04c7014ba43f50cd9614b551a6a136.png 7dc24bb8a415f0d5ab77a11a8ee30e34 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Press Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document <div class="WordSection1"> Dedicated by special permission to Sir FREDERICK LEIGHTON, President of the Royal Academy. ___ Messrs. SAMPSON LOW, MARSTON, & CO. Have much pleasure in announcing that they have made arrangements with Mr. J. P. MAYALL, Photographer, Park-lane Studio, to produce a Monthly Series of absolutely permanent PHOTO-ENGRAVINGS, entitled ARTISTS AT HOME. Mr. J. P. MAYALL has been honoured with permission to photograph a number of the leading Painters, Sculptors, Architects, and Engravers of the day in their studios, or in their homes, while surrounded by their pictures, sculptures, and other objects of art which characterise those places. In this undertaking he has already been successful in obtaining most satisfactory Photographs of the following artists (a list to which other names will be added in due course):- Sir F. LEIGHTON, President of the Royal Academy. ALMA-TADEMA, L., R.A. ANSDELL, R., R.A. ARMITAGE, E., R.A. BARLOW, T. O., R.A. BODLEY, G. F., A.R.A. BOEHM, J. E., R.A. BOUGHTON, G. H., A.R.A. CALDERON, P. H., R.A. COUSINS, S., Hon. Retired R.A. DICKSEE, F., A.R.A. EDIS, ROBERT W., F.S.A. FAED, T., R.A. FRITH, W. P., R.A. GILBERT, Sir J., R.A. GOW, A.C., A.R.A. GRAHAM, P., R.A. GREGORY, E.J., A.R.A. HAAG, CARL HODGSON, J.E. R.A. HOLL, FRANK, R.A. HORSLEY, J.C., R.A. HUNTER, COLIN, A.R.A. JOHNSON, C.E. LAWSON, G.A. LESLIE, G. D., R.A. MACBETH, R.W. A.R.A. MACWHIRTER, J., A.R.A. MARKS, H. S., R.A. MARSHALL, W. C., R.A. MILLAIS, J. E., R.A. MORRIS, P. R., A.R.A. OAKES, J. W., A.R.A. OULESS, W.W., R.A. PETTIE, J., R.A. POYNTER, E.J. R.A. PRINSEP, V.C., A.R.A. REDGRAVE, RICHARD, Hon. Retired R.A. RICHMOND, G., R.A. RIVIERE, BRITON, R.A. SANT, J., R.A. STONE, MARCUS, A.R.A. STOREY, G.A., A.R.A. THORNYCROFT, W. H., A.R.A. WATTS, G. F., R.A. WEBSTER, T. Hon. Retired R.A. WOOLNER, T., R.A. YEAMES, W. F., R.A. **It may be stated that the Right Hon. W.E. GLADSTONE, M.P., as “Professor of Ancient History” to the Royal Academy, has sat for a photograph in his library at Hawarden Castle. Other lay members of the Academy will be added to the series.</div> <div class="WordSection3"> ---------- These likenesses have that interest which attaches to the most exact and characteristic representations of eminent men, each in the habit of his life, and in every sense at home. The portraits will be reproduced by an entirely new and unquestionably permanent process of PHOTO-ENGRAVING, and issued in Monthly Parts at FIVE SHILLINGS each part. Every part will contain Four Engravings from the Photographs, all Facsimiles of the originals, and include a short Biography of each artist, with a description of his studio. The Biographies will be written by, and the literary portion of the work generally will be under the editorship of, Mr. F. G. STEPHENS. The size of the work will be imperial quarto. The text and plates will be printed on the finest paper. Each part will appear in an appropriate wrapper. It is further intended to print a Superior Edition on india paper, mounted on papier de Hollande, and of royal folio size, which will be limited to One Hundred Impressions taken from each plate before the lettering is engraved upon it; Fifty of which will be reserved for American subscribers. This edition will be published at Ten Shillings and Sixpence each Part, and supplied only to subscribers for not fewer than TWELVE MONTHLY PARTS, beginning with a volume. </div> ----------- It is intended to commence the publication in March, 1884, and to continue it monthly. The FIRST PART will contain:-- <ol><li>Sir F. LEIGHTON, P.R.A.</li> <li>T. WEBSTER, R.A.</li> <li>W. C. MARSHALL, R.A.</li> <li>V. C. PRINSEPT, A.R.A.</li> </ol>Orders may be given to any Bookseller in Town or Country. Original Format Text pages Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Sampson Low, Marston, & Co.’s New Publications," The Academy, 1884 Date Created Date of creation of the resource. February 2, 1884 Source A related resource from which the described resource is derived The Academy, no. 613 (February 2, 1884): 71. Subject The topic of the resource Artists at Home by J. P. Mayall and F. G. Stephens (1884) Abstract A summary of the resource. Publisher's advertisement for the forthcoming publication, including publication details and a list of the artists whose portrait photographs are to be included. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. F. G. Stephens, Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884). Rights Information about rights held in and over the resource Public Domain Identifier An unambiguous reference to the resource within a given context Ad_Acad_2.2.84_ts Contributor An entity responsible for making contributions to the resource The Academy (London, 1869-1902), ProQuest.com Omeka record contributed by Linda Merrill Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). October 20, 2016 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Press Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document Messrs. Sampson Low, Marston & Co. issue the sixth part of Artists at Home, which brings the volume of this unique work to a close. The subjects of the present biographical sketches and illustrations are Mr. Poynter, the Academician; Mr. Barlow, the engraver; Mr. Storey, who, after beginning with the study of mathematics and architecture, settled down to the easel; Mr. Macbeth, the eminent Scottish painter; and honoris causa, as Professor of Ancient History in the Royal Academy, the Rt. Hon. W. E. Gladstone. The six numbers of Artists at Home will form a choice and interesting table-book, and the success with which Mr. Mayall has been able to set before us the eminent men and their home surroundings by his photo-engraving process has been complete. The idea was essentially “a happy thought,” and its execution has been a genuine success. Original Format Journal article Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Serials," Publisher's Circular, 1884 Date Created Date of creation of the resource. October 1884 Creator An entity primarily responsible for making the resource Anon. Source A related resource from which the described resource is derived The Publishers’ Circular 47, no. 1129 (Oct. 1, 1884): 939. Subject The topic of the resource Artists at Home Abstract A summary of the resource. A summative, complimentary review, deeming the project "a happy thought" and "a genuine success." Rights Information about rights held in and over the resource Public domain Contributor An entity responsible for making contributions to the resource Omeka record contributed by Linda Merrill Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). November 17, 2016 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Press Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document Part VI. of “Artists at Home” (S. Low and Co.), contains the portraits of five very opposite characters—E. J. Poynter, R.A., T. O. Barlow, R.A., Macbeth and Storey, A.R.A.’s, and Mr. Gladstone. The volume fully sustains the promise of the earlier numbers, the photo engravings are excellent, and the letterpress brief and to the point. The Premier as an artist would be a novelty for which few would be prepared. Luckily, however, the notice appended to his portrait explains that besides being a considerable collector of bric-à-brac, Mr. Gladstone has for some nine years been Professor of Ancient History in the Royal Academy, and that it is as such that his portrait is here introduced. The office is one without duties and without salary, a condition to which Oliver Goldsmith, upon whom the honour was first conferred, humorously referred when he wrote to acquaint his brother of his new dignity. The notes in connection with the office from then to now are as interesting as anything in the volume. Original Format Journal article Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Some Fine Art Books, " Graphic, 1885 Date Created Date of creation of the resource. January 1885 Creator An entity primarily responsible for making the resource Anon. Source A related resource from which the described resource is derived The Graphic, issue 788, Jan. 3, 1885. 19th Century British Library Newspapers: Part II. Subject The topic of the resource Artists at Home Abstract A summary of the resource. A laudatory review published after the release of Part VI of Artists at Home, dwelling on the curious inclusion of W. E. Gladstone. Rights Information about rights held in and over the resource Public domain Contributor An entity responsible for making contributions to the resource Omeka record contributed by Linda Merrill Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). November 17, 2016 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Press Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document No. III. of “Artists at Home,” which contains portraits of Alma-Tadema, R. Redgrave, J. Pettie, and F. Dicksee, has now been published. It is almost unnecessary to say anything of the publication except that the illustrations are well reproduced by photo-engraving. The subject is one of decided interest, as the original plates (by J. P. Mayall) are taken, as the name implies, in the studios of our most well-known artists. Original Format Newspaper article Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "The Reader," The Graphic, 1884 Date Created Date of creation of the resource. June 1884 Creator An entity primarily responsible for making the resource Anon. Source A related resource from which the described resource is derived The Graphic, issue 758, June 7, 1884. 19th Century British Library Newspapers: Part II. Subject The topic of the resource Artists at Home Abstract A summary of the resource. A brief, laudatory notice of the third fascicle. Rights Information about rights held in and over the resource Public domain https://artistsathome.emorydomains.org/files/original/7309ce8e20f03f034f98fb42547d8a5d.png bf6f3b90fded23aece2ccecc269aa644 https://artistsathome.emorydomains.org/files/original/db125af94d5a63ec6b3ca2738e9e5d47.pdf 92fd5ae4cd16359a65783fd19eda52ce Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Press Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document <div class="WordSection1"> THE GRAND OLD MAN. VII.—THE WHOLE-HEARTED HOMAGE OF A HERO-WORSHIPPER. BY MR. J. P. MAYALL PHOTOGRAPHER </div> [Mr. J. P. Mayall, one of the well-known photographers of that name, paid two visits to Hawarden for the purpose of photographing Mr. Gladstone. Of them he has been good enough to send us the following remarkably interesting account, which will be read with great interest. We are also indebted to Mr. Mayall for having placed at our disposal the charming series of photographs of Hawarden Castle, and the photograph of Mr. Gladstone in his library, and of Mrs. Gladstone at her working table. These have been reproduced with great care in this little book.] <div class="WordSection3"> THE CASTLE LOOMS UP IN THE DISTANCE. I packed up my apparatus and started off with my assistant on January 15, 1883, by the 5:15 A.M. train, from Euston. We arrived at Broughton Hall in due course, distant about two miles from Hawarden Castle, which was visible from the railway station. We drove over in a trap. The day was dull and unpromising for photography. The aspect of the country became more interesting as we approached the lodge gates of the park which surrounds the Castle. Once inside the park the undulating character of the country studded with fine trees was very charming, reminding one so much of the subject of Mendelssohn’s beautiful part-song “Departure”:— * O Hills! O Vale of Pleasure! O Woods, with verdure drest! When all the charms of leisure So oft have calmed my breast. The book I read is Nature’s’ There simple truths appear; And though she change her features Her dictates still are clear. Though far from ye I wander, Lost in the worldly train, My heart will fondly ponder, And sigh for ye again. Some one quoting the adage to Napoleon I, “L’ habitude est une second nature,” he re-marked, “C’est dix fois la nature.” To compare great things with small, I may mention that it is a mental habit of mine in my walks abroad and during my journeys to be constantly either improvising music heard alone by the soul within, or recalling some favourite bit from Beethoven or Mendelssohn, whose music specially delights me. I have listened to their music long and often with rapt attention, and in my own humble and imperfect way endeavoured to interpret it on the piano and the organ. This has ever been a great resource and entertainment to me, and as every one is permitted to indulge in a hobby music is mine. Well, then, to my mind Hawarden Park represents a magnificent poem set to music. There one would delight to roam the long summer days, “forgetting and forgot” by the thousand and one cares which beset the life of man in cities, under the blue sky of heaven, there to commune with one’s own heart. There to go out at eve in the fields to meditate as Isaac did of old. Surely after a busy and chequered life there would be enough to occupy one’s thoughts. As a background to this magnificent scene, the stately castle looms in the distance, the goal of our journey and the home of one of England’s greatest men. A noble and stately pile, built of stone in the mediæval Gothic style, with embattled towers and ponderous gateway. Our coachman entertained us with bits of local lore, and acquainted us with the important fact that he had often driven the old lady and gentleman (alluding to Mr. and Mrs. Gladstone) from the station in the vehicle we occupied. The coachman was evidently quite at home, for on approaching the ponderous gates he stepped down in the most familiar way and opened them both, and then entered in state, as though the place belonged to him. I was somewhat afraid we were trespassing by thus entering at the front gate, being always fearful of intruding, like “Paul Pry.” I had written to Mrs. Gladstone immediately on receipt of her letter to say that we should present ourselves at the Castle on Tuesday morning. “SPARE NOT, WASTE NOT.” Accordingly, I sent up my card by the major-domo, after waiting a few minutes in the servants’ hall, where I whiled away the time by taking down an inscription written over the fireplace in these words:— Spare not, Waste not. To Sobriety Add Diligence. Good words, excellent precepts, sound advice. These ought to be inscribed in letters of gold in every home in the Kingdom. Old-fashioned, antiquated, some may be inclined to say, but nevertheless true. Those who practice these precepts alone can afford to relieve the necessities of others. And where could moral virtue be inculcated with better grace than in the home of the past and future Prime Minister of England? One who himself excels in every moral and social virtue, worthily does he occupy the exalted position to which he has been called by the Sovereign and people of England. From his labours, his life, and his character may every Englishman learn the most useful of lessons. “Not slothful in business, fervent in spirit, worshipping the Lord.” What greater praise could be meted out to any human being? As an epitaph, let me for my part merit such, and this may be applied without challenge to Mr. Gladstone when “time with him shall be no more.” His name Englishmen will always cherish and not willingly let die. But I must cease moralizing (which my friends tell me not to do), and come back to the subject. The major-domo (who rejoiced in the familiar name of Smith) returned in a few minutes with a message from Mrs. Gladstone desiring to see me. I was ushered up a winding staircase leading from the basement, and after passing along passages and through various rooms was finally shown into the drawing-room. Mrs. Gladstone came forward and shook hands cordially, and presented me to her daughter. She desired me to come to the fire and warm my hands, which were cold after our six hours’ journeying. She said, “And so you have come all the way from London to photograph Mr. Gladstone.” I replied that I was most delighted and happy to come, that it would form a red-letter day in my calendar. I had brought with me a number of the photographs of “Artists at Home,” including some enlargements of Sir John Gilbert’s studio and T. Webster, R.A. I had also with me a life-size portrait of a gentleman with the Rembrandt lighting. These she admired very much, and said that it was very kind of me to bring these photographs with me for her inspection. Mrs. Gladstone thought that photography was making immense strides, and said how interesting it was to see the progress of the art. “THE TEMPLE OF PEACE.” She listened patiently and attentively to all that I had to say, but as I have a mortal fear of boring people I pulled myself up in discoursing about photography to apologize and trust that I was not wearying her. To which she gave a courteous “No!” Now came the technical and other difficulties to be surmounted in taking a photograph of Mr. Gladstone in his sitting-room. I had been somewhat alarmed at the persistent way in which Mr. Gladstone’s sitting-room had been pronounced too dark to be photographed. “Ah!” said I to myself, before seeing the sitting-room, “des faux bruits.” I have hardly seen a room which does not admit of being photographed with Wratten’s dry plates. “Soyez tranquille, mon ami,” I said to myself; “ne t’embarrasse point.” Now Mrs. Gladstone told me that she wished to prepare Mr. Gladstone for the ordeal of being photographed, shall I say, for the thousand and first time. Would I therefore follow her into the “Temple of Peace.” By this tranquil name did she designate Mr. Gladstone’s sanctum. “Look round and take a general survey. Take no notice of Mr. Gladstone,” who was sitting in his favourite corner reading. Accordingly I followed her with light footstep and on entering I inwardly exclaimed, “Allons donc! des histoires. There is light enough here for my purpose.” But my attention was fully absorbed as Mrs. Gladstone pointed out the table where the Homeric studies had been penned, her own table, with many objects of interest scattered about (one a medallion of a great friend of Mr. Gladstone—Sidney Herbert, now no more). I mentioned to Mrs. Gladstone that I recollected quite well when a boy being present in my father’s studio when Sidney Herbert sat for his photograph. Here was a goodly sight for a lover of books (that is another hobby of mine). I could exclaim with the old Roman, “Vita sine literis, mors est.” The books were evidently arranged by the loving hand of a genuine bibliophile. A massive bookcase in the centre of the sitting-room contained a variety of superb editions of Dante arranged by Mr. Gladstone’s own hands. WHAT MR. GLADSTONE WAS READING. Mrs. Gladstone suggested to me that if I found them in the way they could be removed. I said, “No! madam, don’t touch them. I am somewhat of a bookworm myself, and am jealous of any one disturbing my books. I will bring that much-treasured bookcase in view when I photograph Mr. Gladstone,” which I afterwards did. In the library were books on every conceivable subject. A series of shelves were dedicated to many and various editions of my favourite Shakespeare (the poet of poets). Even at a cursory glance I could gather from their titles in divers languages—Greek, Latin, Italian, French, German—those even which caught my eye. Ponderous tomes, representing the classical authors, Aristotle, Plato, Herodotus, Thucydides, &c., &c. Reader, if you want to test your powers of comprehension, just try your ‘prentice hand on a volume of dry, theological disquisition which I saw in Mr. Gladstone’s library, entitled “L’Immaculata Concepzione.” Mr. Gladstone must have waded through this treatise with the same sturdy perseverance as though it had been a State paper to be grasped and fathomed before it could be dealt with, enabling him to expose the sophistry of the Roman Church. Yet one could imagine Mr. Gladstone’s capacious mind unraveling the thread of the argument and exposing it to view, unmasking, as it were, and divesting it of all its pomp of words and parade of logic with which the Church of Rome loves to array its lucubrations, which are made to conceal the real poverty and hollowness of the argument. “The Vatican Decrees” must have been well thumbed and thought over before answering. OVER 15,000 VOLUMES. In the sitting-room and adjoining rooms of the library are over 15,000 volumes. It was a saying of George III.: “It often happens that when I ask my lawyers a question of law, they are unable to reply off-hand, but they know where to place their hands on the desired information.” Doubtless, thought I, the three score years and ten of the Psalmist would not suffice, however diligently employed, to read all these books through, but one book becomes like a skeleton key, useful in unlocking the treasures of a good many others. And very truly may it be said that one book is a key to another. But this requires intellectual power of no ordinary kind, powers of memory quite prodigious, facility of study, and much leisure. In viewing Mr. Gladstone in the seclusion of his library from my stand-point, the man of letters was more prominent than the statesman. The scholar will always be an object of interest to the man of literary taste. Politics to him cannot possess that absorbing interest which belong to the productions of literature. Perhaps the most profound writer and thinker the Greeks produced was in my humble opinion Aristotle. Yet how would the later generations have known of his existence had he not possessed the literary faculty in a supreme degree? Had he not committed his thoughts to writing, the mighty Stagyrite would have been known most imperfectly to these later times. Aristotle’s writings were not published until some time after his death. In him the literary faculty must have been supreme, as he wrote for posterity, but he has, in consequence, left us evidence that he possessed one of the most profound and encyclopædic intellects the world has ever seen. All this, however, is hardly germane to photography, and perhaps the reader may wish me to do like the cobbler and stick to my last. Well, then, to resume. All the preparations being made and ready, the camera in site, double slides charged, and a good solid head-rest placed behind the chair, Mr. Gladstone was seated and I exposed the plate 120 seconds. Mrs. Gladstone and her son, who were in the library at the time, thought that I had exposed the plate five minutes, the time seemed so long. I said no, I had counted 120 long seconds, so Mr. Gladstone very good naturedly said, “Photographic seconds,” which I explained must be lengthened out if possible, as every photographer dreads under exposure. PHOTOGRAPHING ROYALTY I may mention that during my career as a photographer—in which calling I was brought up as my father before me, who is now the oldest photographer living in England—in my career as a photographer it has often happened that I have assisted my father in photographing great and illustrious personages, but this in quite a secondary capacity. My memory now recalls a scene on the terrace at Osborne House, Isle of Wight. About the year 1855 my father received her Majesty’s commands to attend there for the purpose of taking some photographs, and I accompanied him. In succession were photographed the Princess Royal, the Princess Helena, the Prince of Wales, the Prince Alfred, finally her Majesty and the Prince Consort. To my boyish mind it was naturally a subject of curiosity to approach these Royal personages in all the unstudied intimacy of their daily life and surroundings. But I must here frankly confess that my admiration and enthusiasm could never be thoroughly aroused by the presence or interview with merely persons of rank. Was it Louis XIV. who said that “No man was a hero to his valet”? Well, then, I had often asked myself what impression would be left on the mind if one should ever be called upon to officiate in person in photographing a really great man. My curiosity, my enthusiasm would then have ample scope for gratification, and I shall here attempt to analyze my feelings on being ushered by Mrs. Gladstone into the “Temple of Peace,” and there to stand in the very room where Mr. Gladstone sat in his favourite corner, looking impassive as marble, engaged in reading. It was a feeling of respectful awe, as I said to myself, “There sits the greatest living man, one who by mere force of intellect and culture occupies the most exalted position to which any subject can be called. In him behold the highest product of civilization. By no accident of birth is he Prime Minister of England, no caprice of fortune can account for his present position, but that one sovereign gift of intellect vouchsafed to him by the Almighty has made him and fitted him for the office he holds.” </div> <div style="text-align:center;">GREAT MEN AND BOOKS.</div> <div class="WordSection5"> In my own small way and amongst my friends I have a certain ascendency, and am looked up to; but never in my life, either before or since, did I feel my own inferiority and insignificance as during that moment when I stood in that library in Mr. Gladstone’s very presence. For that privilege and for that moment and at that time I would not have exchanged positions with any man in England. That was a precious experience which I shall carry with me through life, on which I shall often dwell and ponder, and have endeavoured, however feebly, to reproduce here on paper. But the experience itself defies description. All that I had ever read, thought, or seen of great men flashed across my mind, and I saw they possessed this is common—the literary gift, the love of letters. The greatest men the world has yet seen loved books. Alexander the Great placed a copy of Homer under his pillow to mark his love and admiration of “the blind old man of Scios’ rocky isle,” Cicero, the most Grecian in mind and culture of all the Romans (for to him Greek was as familiar as his mother tongue)—in Cicero the man of letters dominates the man of law. Then, again, Julius Cæsar, himself only inferior to Cicero as an orator, was a man profoundly literary in his tastes. How interesting to find Cæsar while in Britain corresponding with his literary friends in Rome, proposing and solving the grammatical questions and niceties of idiom of the Latin tongue! Speaking of the love of letters, how eloquently Cicero has said, “Delectant domi, non impediunt foris.” And so on, the great masterminds have been eminently devoted to literature. Dante, in the “Divina Commedia,” at a bound fixed the Italian language and literature for all time. Our own Shakespeare and Milton, whose words are indeed familiar to our lips as household words—have they not in a measure schooled and fashioned the best minds this country has produced? Shakespeare and Milton I particularly love and revere. What, reader, would you or I sacrifice to be ushered into the presence o Shakespeare or Milton, if that could by any possibility be accomplished?—it is a dream, and must remain such. But I have tasted something of what a similar experience might leave on the mind. A DESCRIPTION OF THE TEMPLE. In that library at Hawarden Castle I saw one of the master spirits of the world, the scholar surrounded by his books and literary treasures, the man of letters immersed in thought, deep in study. You may perhaps be curious to know what book Mr. Gladstone had been reading. Now, as chance would have it, on my second visit to Hawarden Castle in June, 1883, after I had settled my apparatus in the library on the morning Mr. Gladstone sat to me the second time, I, being alone and having nothing else to do, availed myself of the opportunity to make a minute inspection of the library. On the table close by the chair where Mr. Gladstone sits in his library, I saw an open volume laid flat, placed with the pages facing the table so as not to lose the place—a habit familiar to every serious reader (and a very much better plan than dog-earing a page). I had the curiosity or indiscretion, which I dare say Mr. Gladstone will pardon, to examine the volume Mr. Gladstone had been reading, and the comments he had been making on it in his own handwriting. It was a volume in Greek—the Odes of Pindar. I said to myself, that must be pretty stiff reading, and would rather tax one’s knowledge of Greek. You require to be an enthusiastic Greek scholar to tackle such an author. The rest speaks for itself. To drop upon a man in his most unguarded moments might give you a surer key to his character and tastes than to meet him in public “staging himself in the eyes of the multitude.” I must confess, for my part, an extreme desire to make the acquaintance of men, not as they are seen by the outside world, but simply following the bent of their minds. Here is a touchstone of character which reveals volumes to the initiated and the genuine searcher. MRS. GLADSTONE’S TABLE. In Mr. Gladstone’s sitting-room at the other end of it is Mrs. Gladstone’s table. I may say, for the reader’s information, on my first interview with Mrs. Gladstone I perceived that I had a valuable ally to aid me in getting the photographs I required (this I said to her), and I was not wrong, as the sequel proved. I therefore addressed myself to Mrs. Gladstone, who was always accessible, kind, and courteous to me whenever I required to make any arrangements. Having been honoured with a separate sitting by Mrs. Gladstone on my first visit, I had a life-size enlargement done from the negative; this I took with me on my second visit. This enlargement found favour with Mr. Gladstone and his family, and procured for me the honour of a separate sitting from Mr. Gladstone as a pendant. When I had finished the sitting in the library, I made bold to ask Mr. Gladstone himself to favour me with a separate sitting for a Rembrandt photograph, as a companion to the one of Mrs. Gladstone. To this the right hon. gentleman assented at once, and said that he would sit for me in the open air if I liked. Now the previous evening I had reconnoitered the various rooms and selected a spot in a recess of one of the windows in the drawing-room adjoining the library, the light there being suitable for my purpose. This I mentioned to Mr. Gladstone, who said, “Very well, when you are ready let me know.” In the said recess a very serious impediment stood in the way of the reflector used in the Rembrandt lighting—namely, a marble bust perched on a pedestal. This I pointed out to Mr. Henry Gladstone, who volunteered assistance in carrying the apparatus out of the library. Mr. Henry Gladstone, without more ado, coolly took the marble bust (weighing I don’t know how much) in his arms and deposited it safely on the floor. I said “Bravo! well done!” At the time I spoke to him quite familiarly about Mr. Gladstone and things generally, not knowing that he was Mr. Gladstone’s son. This I only learnt a few minutes after when I came to take his portrait. I adjusted the chair, the camera, the head-rest (no prudent photographer travels without that), and the portable background. I was then ready for action, and Mr. Henry Gladstone went and told his father, who came out of the library into the drawing-room. Mr. Gladstone noticed the marble bust had been lifted off the pedestal and placed on the ground. I said to him, “I think, Sir, we have Hercules (pointing to Mr. Gladstone’s son) here. It’s no joke to lift that bust,” at which he smiled. A FEAST FOR THE EYE. He then sat down in the chair, and here again was a feast for the eye of a painter, let alone a photographer. That face, that effect of light and shade, will never be effaced from my memory. It would have required Rembrandt himself to do justice to the occasion. There was a noble and majestic countenance, almost leonine in its aspect, so full of power and masculine dignity. This was one view of Mr. Gladstone’s face which I caught when I heard him speak in the House of Commons in May, 1883. At least, thought I to myself, I will aim at something different from anything I have yet seen of Mr. Gladstone. Whether I have succeeded or not I must leave others to judge. To the eye of the photographer Mr. Gladstone’s face is pale as marble, and the lips and eyes alone give indication of colour. I have not seen any oil-painting of Mr. Gladstone which satisfies my eye or which thoroughly represents the man. Per contra, as a salve to the portrait painters, I have seen a tremendous lot of caricatures of Mr. Gladstone in the shape of photographs (I hope that mine will not be included) which are downright false and repulsive. The finest photograph I have yet seen of Mr. Gladstone, and which I should like to have done myself, was one taken in Florence during his last visit to Italy. There is a delicacy and refinement about that photograph which pleases me. I have often gazed at it with much pleasure and delight. To the photographer Mr. Gladstone would be an endless subject: there is a refined expression on his countenance which caught my eye when speaking to him in the library which has not yet been portrayed either by painter or photographer. He will be a fortunate man who can render it. In the meantime, we must be satisfied with what has already been obtained of him. Every one knows how difficult it is to call up an agreeable expression at the time of being photographed. MR. GLADSTONE ON PHOTOGRAPHY. Just at the critical moment of taking the cap off the lens I asked Mr. Gladstone to fix his eye on one point. He did so, and said that he had often thought that photographers ought to have some toy or other to amuse or attract the attention of the sitter. I suggested the expression I should like to secure would be one called up by listening to fine music. I threw this out as a hint to other photographers in their operations. But I make this observation in general as regards photographic portraiture, that the normal expression of the face can only be obtained in a subdued light—photographic studios have generally too much glare. This I consider a fatal objection to the use of electric light, which is very apt to call up a painful, forced expression seen at no other time. Another very important element in producing a successful portrait of any one is the photographer himself. In my view a good photographer is Rara avis in terris, nigroque simillima cygno. And the qualifications are very high. Photography, I am sorry to say, like school-mastering, though worthy of the highest abilities, is frequently followed by men of the lowest, and, to use a current phrase, has become “a refuge for the destitute.” A good photographer requires to be a fair chemist, a man of good taste and agreeable manners, and very much indeed of an artist. As the Captain in Dickens’s novel very justly observes, “When found, make a note of.” It is to be hoped that the photographer of the future may be recruited from the ranks of the ardent and enthusiastic amateurs whose name is legion. Whenever I see an amateur I always extend my right hand to him as a possible future brother, and I indulge him in his hobby by talking “shop” to him to his heart’s content. I hereby give notice that all amateurs are welcome at my place, and I don’t in the least look upon them as intruders. THE TREE-FELLING IN THE PARK. To return to the library, I noticed on one of the side shelves among the walking sticks, a very fair collection of axes of different sizes and patterns, but this collection was fairly dwarfed in comparison with a collection I saw in one of the outhouses of the Castle. It appears certain manufacturers of axes in Sheffield and elsewhere when they bring out an axe of a new pattern, send one to Mr. Gladstone for trial. The tree-felling was quite in the ascendant on the occasion of my visit. After the family had lunched, they made up a party, armed with axes, and started for a spot in the park to perform their self-appointed task. I had occasion on my way to photograph the gateway to catch sight of the party. The Rector of Hawarden was in his shirt-sleeves, axe in hand, and positively bathed in perspiration. They had evidently, to use the Yankee phrase, “had a good time of it.” *By kind permission of Messrs. Novello, Ewer, and Co. </div> Original Format Part VII in an illustrated pamphlet dedicated to W. E. Gladstone Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "The Whole-Hearted Homage of a Hero-Worshipper" Date Created Date of creation of the resource. November 5, 1888 Creator An entity primarily responsible for making the resource Joseph Parkin Mayall (1839-1922) Source A related resource from which the described resource is derived The Grand Old Man, n 44, Pall Mall Gazette "Extra" (London) (November 5, 1888), Part VII, 26-30. LSE Selected Pamphlets, LSE LIbrary, http://www.jstor.org/stable/60214627 Subject The topic of the resource Mayall's reminiscences of his two visits to Hawarden Castle, Wales, in 1884 (he misremembers the year as 1883), to photograph the prime minister, W. E. Gladstone, for Artists at Home. Abstract A summary of the resource. A lengthy, discursive , autobiographical text in which the photographer J. P. Mayall recalls his two visits to Hawarden Castle to photograph W. E. Gladstone and his wife. As one of the only extant primary sources on Mayall, it is extraordinarily valuable, revealing his love of music and books; his tepid appreciation of royalty (he recalls going to Osborne as a child when his father, the much better-known photographer J. J. E. Mayall, was summoned to photograph Queen Victoria and her family) and his "whole-hearted" admiration for Gladstone and others like him, who had earned their position in the world through intelligence and hard work; his antipathy toward Roman Catholicism; his sense of social inferiority; his views on photography as an art form; and his photographic process. The story ends with Mayall glimpsing the Gladstone family at a distance, walking through Hawarden Park with axes in hand, preparing to fell a few trees. Is Referenced By A related resource that references, cites, or otherwise points to the described resource. Milk, Joanna (MacFarland). “Artists at Home: Artifice and Presence.” n.d. Accessed September 24, 2015. http://www.academia.edu/4168571/Artists_at_Home_Artifice_and_Presence Rights Information about rights held in and over the resource Public domain. Identifier An unambiguous reference to the resource within a given context Mayall_GOM_1888 Contributor An entity responsible for making contributions to the resource Omeka record contributed by Linda Merrill Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). October 30, 2016 Date Modified Date on which the resource was changed. December 5, 2016 https://artistsathome.emorydomains.org/files/original/f9135da7640be1a3b9ac56f510c6fcf3.pdf 0a0bd7b92d6228a73d681317139d9dcb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Press Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document MR. GLADSTONE AT HOME. THE WHOLE-HEARTED HOMAGE OF A HERO-WORSHIPPER. MR. J. P. MAYALL, one of the well-known photographers of that name, paid two visits to Hawarden for the purpose of photographing Mr. Gladstone. Of them he has been good enough to send us the following interesting account, which will be read just now with great interest. Last night crowds of enthusiastic Liberals flocked to the National Liberal Club to see Mr. Gladstone on show. In the following article is a picture of him as he appeared to a hero-worshipper at home :— THE CASTLE LOOMS UP IN THE DISTANCE. I packed up my apparatus and started off with my assistant on January 15, 1883, by the 5:15 A.M. train, from Euston. We arrived at Broughton Hall in due course, distant about two miles from Hawarden Castle, which was visible from the railway station. We drove over in a trap. The day was dull and unpromising for photography. The aspect of the country became more interesting as we approached the lodge gates of the park which surrounds the castle. Once inside the park the undulating character of the country studded with fine trees was very charming, reminding one so much of the subject of Mendelssohn’s beautiful part-song “Departure.” To my mind Hawarden-park represents a magnificent poem set to music. There one would delight to roam the long summer days, “forgetting and forgot” by the thousand and one cares which beset the life of man in cities, under the blue sky of heaven, there to commune with one’s own heart. There to go out at eve in the fields, to meditate as Isaac did of old. Surely after a busy and chequered life there would be enough to occupy one’s thoughts. As a background to this magnificent scene, the stately castle looms in the distance, the goal of our journey and the home of one of England’s greatest men--a noble and stately pile, built of stone in the mediæval Gothic style, with embattled towers and ponderous gateway. Our coachman entertained us with bits of local lore, and acquainted us with the important fact that he had often driven the old lady and gentleman (alluding to Mr. and Mrs. Gladstone) from the station in the vehicle we occupied. The coachman was evidently quite at home, for on approaching the ponderous gates he stepped down in the most familiar way and opened them both, and then entered in state, as though the place belonged to him. I was somewhat afraid we were trespassing by thus entering at the front gate, being always fearful of intruding, like “Paul Pry.” I had written to Mrs. Gladstone immediately on receipt of her letter to say that we should present ourselves at the Castle on Tuesday morning. “SPARE NOT, WASTE NOT.” Accordingly, I sent up my card by the major-domo, after waiting a few minutes in the servants’ hall, where I whiled away the time by taking down an inscription written over the fireplace in these words :— Spare not, Waste not. To Sobriety Add Diligence. Good words, excellent precepts, sound advice. And where could moral virtue be inculcated with better grace than in the home of the past and future Prime Minister of England? One who himself excels in every moral and social virtue, worthily does he occupy the exalted position to which he has been called by the Sovereign and people of England. From his labours, his life, and his character may every Englishman learn the most useful of lessons. “Not slothful in business, fervent in spirit, worshipping the Lord.” His name Englishmen will always cherish and not willingly let die. But I must cease moralizing (which my friends tell me not to do), and come back to the subject. “THE TEMPLE OF PEACE.” Now came the technical and other difficulties to be surmounted in taking a photograph of Mr. Gladstone in his sitting-room. I had been somewhat alarmed at the persistent way in which Mr. Gladstone’s sitting-room had been pronounced too dark to be photographed. “Ah!” said I to myself, before seeing the sitting-room, “des faux bruits.” I have hardly seen a room which does not admit of being photographed with Wratten’s dry plates. “Soyez tranquille, mon ami,” I said to myself; “ne t’embarrasse point.” Now, Mrs. Gladstone told me that she wished to prepare Mr. Gladstone for the ordeal of being photographed, shall I say, for the thousand and first time. Would I, therefore, follow her into the “Temple of Peace.” .” By this tranquil name did she designate Mr. Gladstone’s sanctum. “Look round and take a general survey. Take no notice of Mr. Gladstone,” who was sitting in his favourite corner, reading. Accordingly, I followed her with light footstep and on entering I inwardly exclaimed, “Allons donc! des histoires. There is light enough here for my purpose.” But my attention was fully absorbed as Mrs. Gladstone pointed out the table where the Homeric studies had been penned, her own table, with many objects of interest scattered about (one a medallion of a great friend of Mr. Gladstone—Sidney Herbert, now no more). WHAT MR. GLADSTONE WAS READING. Mrs. Gladstone suggested to me that if I found the books in the way they could be removed. I said, “No! madam, don’t touch them. I am somewhat of a bookworm myself, and am jealous of any one disturbing my books. I will bring that much-treasured bookcase in view when I photograph Mr. Gladstone,” which I afterwards did. In the library were books on every conceivable subject. A series of shelves were dedicated to many and various editions of my favourite Shakespeare (the poet of poets). Even at a cursory glance I could gather from their titles in divers languages—Greek, Latin, Italian, French, German—those even which caught my eye. Ponderous tomes, representing the classical authors, Aristotle, Plato, Herodotus, Thucydides, &c. Reader, if you want to test your powers of comprehension, just try your ‘prentice hand on a volume of dry, theological disquisition which I saw in Mr. Gladstone’s library, entitled “L’Immaculata Concepzione.” Mr. Gladstone must have waded through this treatise with the same sturdy perseverance as though it had been a State paper to be grasped and fathomed before it could be dealt with, enabling him to expose the sophistry of the Roman Church. Yet one could imagine Mr. Gladstone’s capacious mind unraveling the thread of the argument and exposing it to view, unmasking, as it were, and divesting it of all its pomp of words and parade of logic with which the Church of Rome loves to array its lucubrations, which are made to conceal the real poverty and hollowness of the argument. “The Vatican Decrees” must have been well thumbed and thought over before answering. All the preparations being made and ready, the camera in site, double slides charged, and a good solid head-rest placed behind the chair, Mr. Gladstone was seated and I exposed the plate 120 seconds. Mrs. Gladstone and her son, who were in the library at the time, thought that I had exposed the plate five minutes, the time seemed so long. I said no, I had counted 120 long seconds, so Mr. Gladstone very good naturedly said, “Photographic seconds,” which I explained must be lengthened out if possible, as every photographer dreads under- exposure. A DESCRIPTION OF THE TEMPLE. I cannot here attempt to analyze my feelings on being ushered by Mrs. Gladstone into the “Temple of Peace,” and there to stand in the very room where Mr. Gladstone sat in his favourite corner, looking impassive as marble, engaged in reading. In that library at Hawarden Castle I saw one of the master spirits of the world, the scholar surrounded by his books and literary treasures, the man of letters immersed in thought, deep in study. You may perhaps be curious to know what book Mr. Gladstone had been reading. Now, as chance would have it, on my second visit to Hawarden Castle in June, 1883, after I had settled my apparatus in the library on the morning Mr. Gladstone sat to me the second time, I, being alone and having nothing else to do, availed myself of the opportunity to make a minute inspection of the library. On the table close by the chair where Mr. Gladstone sits in his library, I saw an open volume laid flat, placed with the pages facing the table so as not to lose the place—a habit familiar to every serious reader (and a very much better plan than dog-earing a page). I had the curiosity or indiscretion, which I dare say Mr. Gladstone will pardon, to examine the volume Mr. Gladstone had been reading, and the comments he had been making on it in his own handwriting. It was a volume in Greek—the Odes of Pindar. I said to myself, that must be pretty stiff reading, and would rather tax one’s knowledge of Greek. You require to be an enthusiastic Greek scholar to tackle such an author. The rest speaks for itself. To drop upon a man in his most unguarded moments might give you a surer key to his character and tastes than to meet him in public “staging himself in the eyes of the multitude.” I must confess, for my part, an extreme desire to make the acquaintance of men, not as they are seen by the outside world, but simply following the bent of their minds. Here is a touchstone of character which reveals volumes to the initiated and the genuine searcher. A FEAST FOR THE EYE. Mr. Gladstone then sat down in the chair, and here again was a feast for the eye of a painter, let alone a photographer. That face, that effect of light and shade, will never be effaced from my memory. It would have required Rembrandt himself to do justice to the occasion. There was a noble and majestic countenance, almost leonine in its aspect, so full of power and masculine dignity. This was one view of Mr. Gladstone’s face which I caught when I heard him speak in the House of Commons in May, 1883. At least, thought I to myself, I will aim at something different from anything I have yet seen of Mr. Gladstone. Whether I have succeeded or not I must leave others to judge. To the eye of the photographer Mr. Gladstone’s face is as pale as marble, and the lips and eyes alone give indication of colour. I have not seen any oil painting of Mr. Gladstone which satisfies my eye or which thoroughly represents the man. Per contra, as a salve to the portrait painters, I have seen a tremendous lot of caricatures of Mr. Gladstone in the shape of photographs (I hope that mine will not be included) which are downright false and repulsive. The finest photograph I have yet seen of Mr. Gladstone, and which I should like to have done myself, was one taken in Florence during his last visit to Italy. There is a delicacy and refinement about that photograph which pleases me. I have often gazed at it with much pleasure and delight. To the photographer Mr. Gladstone would be an endless subject: there is a refined expression on his countenance which caught my eye when speaking to him in the library which has not yet been portrayed either by painter or photographer. He will be a fortunate man who can render it. Original Format Newspaper article. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mr. Gladstone at Home. The Whole-Hearted Homage of a Hero-Worshipper. Date Created Date of creation of the resource. July 27, 1889 Creator An entity primarily responsible for making the resource Joseph Parkin Mayall (1839-1922) Source A related resource from which the described resource is derived Pall Mall Gazette (London), no. 7600 (July 27, 1889): 26-30. British Library Newspapers, Part I, Gale Document Number Y3200418466. Subject The topic of the resource Mayall's reminiscences about his two visits to Hawarden Castle to photograph W. E. Gladstone for Artists at Home. Abstract A summary of the resource. A redaction of Mayall's account of photographing W. E. Gladstone ("The Whole-Hearted Homage of a Hero-Worshipper," q.v.), which had been published the previous year as part of The Grand Old Man, a pamphlet dedicated to W. E. Gladstone. An editorial headnote makes no mention of the previous publication but explains that Mayall's reminiscences are being published that day because "last night crowds of enthusiastic Liberals flocked to the National Liberal Club to see Mr. Gladstone on show," creating an atmosphere in which Mayall's words of adulation would be particularly appreciated. Many of Mayall's more personal and philosophical reflections have been cut, but the text that remains is virtually unaltered. Relation A related resource Mayall_GOM_1888 References A related resource that is referenced, cited, or otherwise pointed to by the described resource. J. P. Mayall, “The Whole Hearted Homage of a Hero-Worshipper,” in The Grand Old Man, No. 44, Pall Mall Gazette “Extra” (London) (November 5, 1888), Part VII, pp. 26–30. LSE Selected Pamphlets, LSE Library, <a href="http://www.jstor.org/stable/60214627">http://www.jstor.org/stable/60214627</a>. Rights Information about rights held in and over the resource Public domain Identifier An unambiguous reference to the resource within a given context Mayall_PMG_1889 Contributor An entity responsible for making contributions to the resource Omeka record contributed by Linda Merrill Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). October 30, 2016 https://artistsathome.emorydomains.org/files/original/81d18a5997935edd2ec42f450a4b0ee3.png 1b68c3509e3af3817e4304ec414a40a5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Press Still Image Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Page from The Gentleman's Magazine of Fashion Date Created Date of creation of the resource. January 1877 Creator An entity primarily responsible for making the resource Louis Devere Source A related resource from which the described resource is derived The Gentleman's Magazine of Fashion, vol. 29 (1877). Rights Information about rights held in and over the resource Public Domain in the United States, Google-digitized Contributor An entity responsible for making contributions to the resource The Gentleman's Magazine of Fashion and Costumes de Paris et Londres, Google Books <a href="https://books.google.com/books?id=SBgGAAAAQAAJ&pg=PA39&lpg=PA39&dq=single-breasted+waistcoat+of+white+quilting&source=bl&ots=sHY7KdT7l_&sig=FWK5QLyYG1oYJj453Kx42FGWkhk&hl=en&sa=X&ved=0ahUKEwihtPPxrpzQAhXGPCYKHVjaALQQ6AEINzAJ#v=onepage&q&f=false">https://books.google.com/books?id=SBgGAAAAQAAJ&pg=PA39&lpg=PA39&dq=single-breasted+waistcoat+of+white+quilting&source=bl&ots=sHY7KdT7l_&sig=FWK5QLyYG1oYJj453Kx42FGWkhk&hl=en&sa=X&ved=0ahUKEwihtPPxrpzQAhXGPCYKHVjaALQQ6AEINzAJ#v=onepage&q&f=false </a> https://artistsathome.emorydomains.org/files/original/26da666081f4c0c47734cd3220378fe6.png a6ad9c97b65d5a86b64a489f590253c7 https://artistsathome.emorydomains.org/files/original/6a1d9912727fb58f5c81436460ab0cca.png c672b19f3241e04ca415a10082c0a58b https://artistsathome.emorydomains.org/files/original/d3860684cb45e8b9173940b6ef0ddae8.png 27316e0f80c375c08280c122e19bcf57 https://artistsathome.emorydomains.org/files/original/dae850d2e3e0569cb4a5cb34590bbb9e.png eb52803fc36e38f0c3c7b3dfc3fe987f https://artistsathome.emorydomains.org/files/original/e2ddaea884837d7c0d97fc478647d4e3.png 68778fc757386540265d915993b16cbb https://artistsathome.emorydomains.org/files/original/5b8e314596cb29eba0c95b03e6989fdf.png 1b68c3509e3af3817e4304ec414a40a5 https://artistsathome.emorydomains.org/files/original/934d70a7e0347621f1c93c9a73f77ada.png b884f9bf47f5d96a9945d692f0e5ade1 https://artistsathome.emorydomains.org/files/original/3f763baebed8194df9851271a0bcd3dc.png f61321b478e8907aec89eb5f1e0b80c7 https://artistsathome.emorydomains.org/files/original/8436794e5984333eaa3eaf2826ef59f0.png add35d2d5b42937600835c27c2221ac9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Press Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format Book pages Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pages from The Gentleman's Magazine of Fashion Date Created Date of creation of the resource. January 1877 Creator An entity primarily responsible for making the resource Louis Devere Source A related resource from which the described resource is derived The Gentleman's Magazine of Fashion, vol. 29 (1877). Abstract A summary of the resource. Contains text accompanied with plates and engravings on current fashion trends and advice on cutting Rights Information about rights held in and over the resource Public Domain in the United States, Google-digitized Contributor An entity responsible for making contributions to the resource The Gentleman's Magazine of Fashion and Costumes de Paris et Londres, Google Books <a href="https://books.google.com/books?id=SBgGAAAAQAAJ&pg=PA39&lpg=PA39&dq=single-breasted+waistcoat+of+white+quilting&source=bl&ots=sHY7KdT7l_&sig=FWK5QLyYG1oYJj453Kx42FGWkhk&hl=en&sa=X&ved=0ahUKEwihtPPxrpzQAhXGPCYKHVjaALQQ6AEINzAJ#v=onepage&q&f=false">https://books.google.com/books?id=SBgGAAAAQAAJ&pg=PA39&lpg=PA39&dq=single-breasted+waistcoat+of+white+quilting&source=bl&ots=sHY7KdT7l_&sig=FWK5QLyYG1oYJj453Kx42FGWkhk&hl=en&sa=X&ved=0ahUKEwihtPPxrpzQAhXGPCYKHVjaALQQ6AEINzAJ#v=onepage&q&f=false </a> Omeka record contributed by Albertine Lee https://artistsathome.emorydomains.org/files/original/a6f66726735770ca2576c3fb5846699e.jpg 9591275b1153d38d90b4ff45e5df9ef0 https://artistsathome.emorydomains.org/files/original/978e4f4597141e14e203cdd4da6f4264.png 3ba0ddb7bdbd53d6829bd4d75cda72a1 https://artistsathome.emorydomains.org/files/original/4939f147dafde9cf5281c47c8e57b40d.jpg b683eed1e49e6ca6c5ddd4446ab53126 https://artistsathome.emorydomains.org/files/original/935398dd6877725c8ae9aac557c30597.jpg 51c5d4d451555ad265a9d66ebeb7b2f9 https://artistsathome.emorydomains.org/files/original/63116311c10cdc9cea6fc2fefff939c6.png 3f1e28260f6c3892d719bb9a72cc495f https://artistsathome.emorydomains.org/files/original/fac96017490a5e78f873e831a3df74a4.png f57a389012ecedcb833e930e88fc90a7 https://artistsathome.emorydomains.org/files/original/57014cd8498a4a29a70f8bd8eb69fdcd.png 6fb7c252816f7e6a8b2b3e3c154f1106 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Press Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format Book pages Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pages from The Tailor and cutter and London Art Journal; an index of cutting, fashion and trade. Date Created Date of creation of the resource. January to December 1890 Creator An entity primarily responsible for making the resource Printed and published by the John Williamson Company, Limited Source A related resource from which the described resource is derived The Tailor and Cutter and London Art Journal, vol. xxv (London, 1890) Subject The topic of the resource Texts and illustrations on current fashion trends Rights Information about rights held in and over the resource Public Domain in the United States, Google digitized Contributor An entity responsible for making contributions to the resource HathiTrust Digital Library <a href="https://catalog.hathitrust.org/Record/100331620">https://catalog.hathitrust.org/Record/100331620</a> Omeka record contributed by Albertine Lee https://artistsathome.emorydomains.org/files/original/26b5258dd8b365c90691687337bf9519.jpg 1ba55fcc223bda99e55c7dff69b32d48 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Press Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Reviews of Artists at Home: a collage Date Created Date of creation of the resource. December 9, 2016 Creator An entity primarily responsible for making the resource Ekaterina Koposova Format The file format, physical medium, or dimensions of the resource Digital image Description An account of the resource A collage from the pages of the Art Journal, The Derby Mercury, and The Cornubian and Redruth Times. Contributor An entity responsible for making contributions to the resource Ekaterina Koposova Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). December 9, 2016 https://artistsathome.emorydomains.org/files/original/51648a4c6660a9e952529431096e8b74.png 89cda1d0eebbbd5440d1f61ce4ed0e9a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Press Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format Newspaper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wratten & Wainwright’s ‘London Dry Plates’ Date Created Date of creation of the resource. May 31, 1889 Source A related resource from which the described resource is derived The Photographic News, May 31, 1889, xv. Abstract A summary of the resource. A brief advertisement for Wratten & Wainwright's 'London Dry Plates" praising their usefulness and listing the types one can purchase. Rights Information about rights held in and over the resource Public Domain in the United States, Google-digitized Contributor An entity responsible for making contributions to the resource Omeka record contributed by Michelle Malmberg Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). December 9, 2016