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Updated: May 4, 2025
Opening the portfolio of memory, I draw out picture after picture "figure-pieces" groups of forms and faces whereof mine only now remains, somewhat the worse for wear. Here are three young men lolling at ease on a grassy bank.
There are many things to be said about his talent, some of which are not the easiest in the world to express. I shall not, however, make them more difficult by attempting to catalogue his contributions in these pages. A turning of the leaves of Harper brings one constantly face to face with him, and a systematic search speedily makes one intimate. The reader will remember the beautiful Illustrations to Mr. Blackmore's novel of Springhaven, which were interspersed with striking figure-pieces from the pencil of that very peculiar pictorial humorist Mr. Frederick Barnard, who, allowing for the fact that he always seems a little too much to be drawing for Dickens and that the footlights are the illumination of his scenic world, has so remarkable a sense of English types and attitudes, costumes and accessories, in what may be called the great-coat-and-gaiters period the period when people were stiff with riding and wicked conspiracies went forward in sanded provincial inn-parlors. Mr. Alfred Parsons, who is still conveniently young, waked to his first vision of pleasant material in the comprehensive county of Somerset a capital centre of impression for a painter of the bucolic. He has been to America; he has even reproduced with remarkable discrimination and truth some of the way-side objects of that country, not making them look in the least like their English equivalents, if equivalents they may be said to have. Was it there that Mr. Parsons learned so well how Americans would like England to appear? I ask this idle question simply because the England of his pencil, and not less of his brush (of his eminent brush there would be much to say), is exactly the England that the American imagination, restricted to itself, constructs from the poets, the novelists, from all the delightful testimony it inherits. It was scarcely to have been supposed possible that the native point of view would embrace and observe so many of the things that the more or less famished outsider is, in vulgar parlance, "after." In other words (though I appear to utter a foolish paradox), the danger might have been that Mr. Parsons knew his subject too well to feel it to feel it, I mean,
Weston some inimitable figure-pieces in her drawing-room, at Randalls?" Yes, good man! thought Emma but what has all that to do with taking likenesses? You know nothing of drawing. Don't pretend to be in raptures about mine. Keep your raptures for Harriet's face. "Well, if you give me such kind encouragement, Mr. Elton, I believe I shall try what I can do.
The workman called other persons to his assistance, and the remaining portions of the wall were speedily stripped, laying bare four or five hundred square feet covered with sketches in color, landscapes, views of unknown cities, Biblical scenes, and modern figure-pieces, among which was a lady at a spinning-wheel.
These pictures would have been both landscapes and figure-pieces; the latter, however, would have been the more numerous. With several of the images that might have been projected on such a field we are already acquainted. There would be for instance the conciliatory Lily, our heroine's sister and Edmund Ludlow's wife, who had come out from New York to spend five months with her relative.
Weston some inimitable figure-pieces in her drawing-room, at Randalls?" Yes, good man! thought Emma but what has all that to do with taking likenesses? You know nothing of drawing. Don't pretend to be in raptures about mine. Keep your raptures for Harriet's face. "Well, if you give me such kind encouragement, Mr. Elton, I believe I shall try what I can do.
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