I HAD quite a large number of commissions for military water-colours to get through on my return home, and an oil of French artillery on the march to paint, in my little glass studio under St. Boniface Down. But after my not inconsiderable success with “Missing” at the Academy, I became more and more convinced that a London studio must be my destiny for the coming winter. Of course, my father demurred. He couldn’t bear to part with me. Still, it must be done, and to London I went, with his sad consent. I had long been turning “The Roll Call” in my mind. My father shook his head; the Crimea was “forgotten.” My mother rather shivered at the idea of the snow. It was no use; they saw I was bent on that subject. My dear mother and our devoted family doctor in London (Dr. Pollard[4]), who would do anything in his power to help me, between them got me the studio, No. 76, Fulham Road, where I painted the picture which brought me such utterly unexpected celebrity.

Mr. Burchett, still headmaster at South Kensington, was delighted to see me with all the necessary facilities for carrying out my work, and he sent me the best models in London, nearly all ex-soldiers. One in particular, who had been in the Crimea, was invaluable. He stood for the sergeant who calls the roll. I engaged my models for five hours each day, but often asked them to give me an extra half-hour. Towards the end, as always happens, I had to put on pressure, and had them for six hours. My preliminary expeditions for the old uniforms of the Crimean epoch were directed by my kind Dr. Pollard, who rooted about Chelsea back streets to find what I required among the Jews. One, Mr. Abrahams, found me a good customer. I say in my Diary:

“Dr. Pollard and I had a delightful time at Mr. Abrahams’ dingy little pawnshop in a hideous Chelsea slum, and, indeed, I enjoyed it far more than I should have enjoyed the same length of time at a West End milliner’s. I got nearly all the old accoutrements I had so much longed for, and in the evening my Jew turned up at Dr. Pollard’s after a long tramp in the city for more accoutrements, helmets, coatees, haversacks, etc., and I sallied forth with the ‘Ole Clo!’ in the rain to my boarding house under our mutual umbrella, and he under his great bag as well. We chatted about the trade ‘chemin faisant.’”

Crimean ideas.
Crimean ideas.

I called Saturday, December 13th, 1873, a “red-letter day,” for I then began my picture at the London studio. Having made a little water-colour sketch previously, very carefully, of every attitude of the figures, I had none of those alterations to make in the course of my work which waste so much time. Each figure was drawn in first without the great coat, my models posing in a tight “shell jacket,” so as to get the figure well drawn first. How easily then could the thick, less shapely great coat be painted on the well-secured foundation. No matter how its heavy folds, the cross-belts, haversacks, water-bottles, and everything else broke the lines, they were there, safe and sound, underneath. An artist remarked, “What an absurdly easy picture!” Yes, no doubt it was, but it was all the more so owing to the care taken at the beginning. This may be useful to young painters, though, really, it seems to me just now that sound drawing is at a discount. It will come by its own again. Some people might say I was too anxious to be correct in minor military details, but I feared making the least mistake in these technical matters, and gave myself some unnecessary trouble. For instance, on one of my last days at the picture I became anxious as to the correct letters that should appear stamped on the Guards’ haversacks. I sought professional advice. Dr. Pollard sent me the beery old Crimean pensioner who used to stand at the Museum gate wearing a gold-laced hat, to answer my urgent inquiry as to this matter. Up comes the puffing old gentleman, redolent of rum. I, full of expectation, ask him the question: “What should the letters be?” “B. O.!” he roars out—“Board of Ordnance!” Then, after a congested stare, he calls out, correcting himself, “W. D.—War Deportment!” “Oh!” I say, faintly, “War Department; thank you.” Then he mixes up the two together and roars, “W. O.!” And that was all I got. He mopped his rubicund face and, to my relief, stumped away down my stairs. Another Crimean hero came to tell me whether I was right in having put a grenade on the pouches. “Well, miss, the natural hinference would be that it was a grenade, but it was something like my ‘and.” Desperation! I got the thing “like his hand” just in time to put it in before “The Roll Call” left—a brass badge lent me by the War Office—and obliterated the much more effective grenade.

On March 29th and 30th, 1874, came my first “Studio Sunday” and Monday, and on the Tuesday the poor old “Roll Call” was sent in. I watched the men take it down my narrow stairs and said “Au revoir,” for I was disappointed with it, and apprehensive of its rejection and speedy return. So it always is with artists. We never feel we have fulfilled our hopes.

The two show days were very tiring. Somehow the studio, after church time on the Sunday, was crowded. Good Dr. Pollard hired a “Buttons” for me, to open the door, and busied himself with the people, and enjoyed it. So did I, though so tired. It was “the thing” in those days to make the round of the studios on the eve of “sending-in day.”

Mr. Galloway’s agent came, and, to my intense relief, told me the picture went far beyond his expectations. He had been nervous about it, as it was through him the owner had bought it, without ever seeing it. On receiving the agent’s report, Mr. Galloway sent me a cheque at once—£126—being more than the hundred agreed to. The copyright was mine.

The days that followed felt quite strange. Not a dab with a brush, and my time my own. It was the end of Lent, and then Easter brought such church ceremonial as our poor little Ventnor St. Wilfrid’s could not aspire to. A little more Diary:

“Saturday, April 11th.—A charming morning, for Dr. Pollard had a fine piece of news to tell me. First, Elmore, R.A., had burst out to him yesterday about my picture at the Academy, saying that all the Academicians are in quite a commotion about it, and Elmore wants to make my acquaintance very much. He told Dr. P. I might get £500 for ‘The Roll Call’! I little expected to have such early and gratifying news of the picture which I sent in with such forebodings. After Dr. P. had delivered this broadside of Elmore’s compliments he brought the following battery of heavy guns to bear upon me which compelled me to sink into a chair. It is a note from Herbert, R.A., in answer to a few lines which kind Father Bagshawe had volunteered to write to him, as a friend, to ask him, as one of the Selecting Committee, just simply to let me know, as soon as convenient, whether my picture was accepted or rejected. The note is as follows:

I trotted off at once to show Father Bagshawe the note, and then left for home with my brilliant news.”

While at home at Ventnor I received from many sources most extraordinary rumours of the stir the picture was making in London amongst those who were behind the scenes. How it was “the talk of the clubs” and spoken of as the “coming picture of the year,” “the hit of the season,” and all that kind of thing. Friends wrote to me to give me this pleasant news from different quarters. Ventnor society rejoiced most kindly. I went to London to what I call in the Diary “the scene of my possible triumphs,” having taken rooms at a boarding house. I had better let the Diary speak:

“‘Varnishing Day,’ Tuesday, April 28th.—My real feelings as, laden like last year, with palette, brushes and paint box, I ascended the great staircase, all alone, though meeting and being overtaken by hurrying men similarly equipped to myself, were not happy ones. Before reaching the top stairs I sighed to myself, ‘After all your working extra hours through the winter, what has it been for? That you may have a cause of mortification in having an unsatisfactory picture on the Academy walls for people to stare at.’ I tried to feel indifferent, but had not to make the effort for long, for I soon espied my dark battalion in Room II. on the line, with a knot of artists before it. Then began my ovation (!) (which, meaning a second-class triumph, is not quite the word). I never expected anything so perfectly satisfactory and so like the realisation of a castle in the air as the events of this day. It would be impossible to say all that was said to me by the swells. Millais, R.A., talked and talked, so did Calderon, R.A., and Val Prinsep, asking me questions as to where I studied, and praising this figure and that. Herbert, R.A., hung about me all day, and introduced me to his two sons. Du Maurier told me how highly Tom Taylor had spoken to him of the picture. Mr. S., our Roman friend, cleaned the picture for me beautifully, insisting on doing so lest I should spoil my new velveteen frock. At lunchtime I returned to the boarding house to fetch a sketch of a better Russian helmet I had done at Ventnor, to replace the bad one I had been obliged to put in the foreground from a Prussian one for want of a better. I sent a gleeful telegram home to say the picture was on the line. I could hardly do the little helmet alterations necessary, so crowded was I by congratulating and questioning artists and starers. I by no means disliked it all. Delightful is it to be an object of interest to so many people. I am sure I cannot have looked very glum that day. In the most distant rooms people steered towards me to felicitate me most cordially. ‘Only send as good a picture next year’ was Millais’ answer to my expressed hope that next year I should do better. This was after overhearing Mr. C. tell me I might be elected A.R.A. if I kept up to the mark next year. O’Neil, R.A., seemed rather to deprecate all the applause I had to-day and, shaking his head, warned me of the dangers of sudden popularity. I know all about that, I think.

“Thursday, April 30th.—The Royalties’ private view. The Prince of Wales wants ‘The Roll Call.’ It is not mine to let him have, and Galloway won’t give it up.

“Friday, May 1st.—The to-me-glorious private view of 1874. I insert here my letter to Papa about it:

I remember how on the following Sunday my good friend Dr. Pollard, who lived close to my boarding house, waylaid me on my way to mass at the Oratory, and from his front garden called me in stentorian tones, waving the Observer over his head. On crossing over I learnt of the speeches of the Prince of Wales and the Duke of Cambridge at the Academy banquet the evening before, in which most surprising words were uttered about me and the picture.

“Monday, May 4th.—The opening day of the Royal Academy. A dense crowd before my grenadiers. I fear that fully half of that crowd have been sent there by the royal speeches on Saturday. I may say that I awoke this morning and found myself famous. Great fun at the Academy, where were some of my dear fellow students rejoicing in the fulfilment of their prophecies in the old days. Overwhelmed with congratulations on all sides; and as to the papers, it is impossible to copy their magnificent critiques, from The Times downwards.

“Wednesday, May 6th.—The Queen had my picture abstracted from the R.A. last night to gaze at, at Buckingham Palace! It is now, of course, in its place again. Went with Papa to the brilliant Goldsmiths’ Ball, where I danced. I was a bit of a lion there, or shall I say lioness? Sir William Ferguson was introduced to me; and he, in his turn, introduced his daughter and drank to my further success at the supper. Sir F. Chapman also was presented, and expressed his astonishment at the accuracy of the military details in my picture. He is a Crimean man. The King of the Goldsmiths was brought up to me to express his thanks at my ‘honouring’ their ball with my presence. The engravers are already at me to buy the copyright, but my dear counsellor and friend, Seymour Haden, says I am to accept nothing short of £1,000, and get still more if I can!

“May 10th.—The Dowager Lady Westmoreland, who is about 80, and who has lost pleasure in seeing new faces, when she heard of my Crimean picture, expressed a great wish to see me, and to-day I went to dine at her house, meeting there the present earl and countess, an old Waterloo lord, and Henry Weigall and his wife, Lady Rose. The dear old lady was so sweet. She was the Duke of Wellington’s favourite niece, and his Grace’s portraits deck the walls of more than one room. Her pleasure was in talking of the Florence of the old pre-Austrian days, where she lived sixteen years, but my great pleasure was talking with the earl and the Waterloo lord, who were most loquacious. Lord Westmoreland was on Lord Raglan’s staff in the Crimea.

“May 11th.—Received cheque for the ‘San Pietro in Vincoli’ and ‘Children of St. Francis.’ My popularity has levered those two poor little pictures off. Messrs. Dickinson & Co. have bought my copyright for £1,200!!!”

There follows a good deal in the Diary concerning the trouble with Mr. Galloway, who made hard conditions regarding his ceding “The Roll Call” to the Queen, who wished to have it. He felt he was bound to let it go to his Sovereign, but only on condition that I should paint him my next Academy picture for the same price as he had given for the one he was ceding, and that the Queen should sign with her own hand six of the artist’s proofs when the engraving of her picture came out. I had set my heart on painting the 28th Regiment in square receiving the last charge of the French Cuirassiers at Quatre Bras, but as that picture would necessitate far more work than “The Roll Call,” I could not paint it for that little £126—so very puny now! So I most reluctantly suggested a subject I had long had in petto, “The Dawn of Sedan,” French Cuirassiers watching by their horses in the historic fog of that fateful morning—a very simple composition. To cut a very long story short, he finally consented to have “Quatre Bras” at my own price, £1,126, the copyright remaining his. All this talk went on for a long time, and meanwhile, all through the London society doings, I made oil studies of all the grey horses for “Sedan.” The General Omnibus Company sent me all shades of grey percherons for this purpose. I also made life-size oil studies of hands for “Quatre Bras,” where hands were to be very strong points, gripping “Brown Besses.” So I took time by the forelock for either subject. I was very fortunate in having the help of wise business heads to grapple with the business part of my work, for I have not been favoured that way myself.

There is no mention in the Diary of the policeman who, a few days after the opening of the Academy, had to be posted, poor hot man, in my corner to keep the crowd from too closely approaching the picture and to ask the people to “move on.” That policeman was there instead of the brass bar which, as a child, I had pleased myself by imagining in front of one of my works, À la Frith’s “Derby Day.” The R.A.’s told me the bar created so much jealousy, when used, that it had been decided never to use it again. But I think a live policeman quite as much calculated to produce the undesirable result. I learnt later that his services were quite as necessary for the protection of two lovely little pictures of Leighton’s, past which the people scraped to get at mine, they being, unfortunately, hung at right angles to mine in its corner. What an unfortunate arrangement of the hangers! Horsley told me that they went every evening after the closing, with a lantern, to see if the two gems had been scratched. They were never seen. I wonder if Leighton had any feelings of dislike towards “that girl.” She who in her ‘teens records her prostrations of worship before his earlier works, ere he became so coldly classical.

It is a curious condition of the mind between gratitude for the appreciation of one’s work by those who know, and the uncomfortable sense of an exaggerated popularity with the crowd. The exaggeration is unavoidable, and, no doubt, passes, but the fact that counts is the power of touching the people’s heart, an “organ” which remains the same through all the changing fashions in art. I remember an argument I once had with Alma Tadema on this matter of touching the heart. He laughed at me, and didn’t believe in it at all.

“Tuesday, May 12th.—Mr. Charles Manning and his wife have been so very nice to me, and this morning Mrs. M. bore me off to be presented to His Grace of Westminster, with whom I had a long interview. What a face! all spirit and no flesh. After that, to the School of Art Needlework to meet Lady Marion Alford and other Catholic ladies. I ordered there a pretty screen for my studio on the strength of my £1,200! Thence I proceeded on a round of calls, going first to the Desanges, where I lunched. There they told me the Prince of Wales was coming at four o’clock to see the Ashanti picture Desanges is just finishing. They begged me to come back a little before then, so as to be ready to be presented when the moment should arrive. I returned accordingly, and found the place crowded with people who had come to see the picture. As soon as H.R.H. was announced, all the people were sent below to the drawing-room and kept under hatches until Royalty should take its departure; but I alone was to remain in the back studio, to be handy. All this was much against my will, as I hate being thrust forward. But, as it turned out, there was no thrusting forward on this occasion, and all was very nice and natural. The Prince soon came in to where I was, Mr. Desanges saying ‘Here she is’ in answer to a question. His first remark to me was, of course, about the picture, saying he had hoped to be its possessor, etc., etc., and he asked me how I had got the correct details for the uniforms, and so on, having quite a little chat. He spoke very frankly, and has a most clear, audible voice.”

Of course, the photographers began bothering. The idea of my portraits being published in the shop windows was repugnant to me. Nowadays one is snapshotted whether one likes it or not, but it wasn’t so bad in those days; one’s own consent was asked, at any rate. I refused. However, it had to come to that at last. My grandfather simply walked into the shop of the first people that had asked me, in Regent Street, and calmly made the appointment. I was so cross on being dragged there that the result was as I expected—a rather harassed and coerced young woman, and the worst of it was that this particular photograph was the one most widely published. Indeed, one of my Aunts, passing along a street in Chelsea, was astonished to see her rueful niece on a costermonger’s barrow amongst some bananas!