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Updated: May 27, 2025
We are become literal and exacting, addicted to the pedantry of the prescriptive, if not of the prosaic. Take such a picture as M. Edouard Detaille's "Le Rêve," which won him so much applause a few years ago. M. Detaille is an irreproachable realist, and may do what he likes in the way of the materially impossible with impunity.
Billington as Saint Cecilia, Gilbert Stuart's Washington, Horace Vernet's Siege of Saragossa, Raeburn's Portrait of Van Brugh Livingston; in the Stuart Room, Boughton's Pilgrims Going to Church, Schreyer's The Attack, Inness's Hackensack Meadows, Sunset, Troyon's Cow and Sheep, Detaille's Chasseur of the French Imperial Guard, Bougereau's The Secret, and Weir's View of the Highlands from West Point.
Scaife bought sporting prints, a couple of Detaille's lithographs, and an easy-chair, known to dwellers upon the Hill as a "frowst;" Kinloch hung upon his side of the wall four pretty reproductions of French engravings, and with the help of three yards of velveteen and some cheap lace he made a very passable imitation of the mantel-cover in his mother's London boudoir; John scorned velveteen, lace, "frowsts," and French engravings.
Detaille's picture is all rot the soldier's dream is not the picture of victorious battalions with banners flying, marching through the clouds. He had been dreaming of tripe and onions. Visions of past good meals in comfortable quarters washed down with deep cooling draughts of bitter floated in procession through sizzling clouds of vapour smelling of invisible kitchens.
Yet the scheme is as thoroughly conventional that is to say, it is as closely based on hypothesis universally assumed for the moment as Lebrun's "Triumph of Alexander." The latter is as much a true expression of an ideal as Detaille's picture. It is an ideal now become more conventional, undoubtedly, but it is as clearly an ideal and as clearly genuine.
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