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Updated: May 29, 2025
Hamerton declares, hates to burden itself with names; to which might be added that it also hates to differentiate with any single name. A good portraitist in England one year exhibited at the Royal Academy a wonderfully painted peacock. The people raved and thereafter he was allowed to paint nothing else.
"We have just bought a copy of 'The Isles of Loch Awe, and Other Poems, by P. G. Hamerton, Esq. 1859. Second thousand. "We have had a good many years a copy of the first edition, 1855, which we once loaned to Mr. Longfellow, who made from it selections for his collection of 'Poems of Places, and in it we have placed his letter of thanks for the loan."
Or at Cowes: "I thought of you, and said to myself, how much more reasonable it would be for Hamerton to have a snug little house here, and a snug little sailing-boat, instead of living at that preposterous Autun. How he would enjoy dancing over these waves, which make me sick to look at them; and how pleasant it would be to tempt him to pay frequent visits to Kingston!
I. Good Health II. 2 to 3 hundred a year III. O du lieber Gott, friends! He wrote an article, this born wayfarer, on "Roads," which was accepted by P. G. Hamerton for the "Portfolio," but in November, 1873, "nervous exhaustion, with a threatening of phthisis," caused him to be "Ordered South" to Mentone a lonely exile. Here he was joined by Mr. Colvin, and in Mr.
Hamerton enumerates the duties of the critic as follows; “to utter unpopular truths; to instruct the public in the theoretical knowledge of art; to defend true living artists against the malice of the ignorant; to prevent false living artists from acquiring an influence injurious to the general interests of art; to exalt the fame of dead artists whose example may be beneficial; to weaken the fame of dead artists whose names have an injurious degree of authority; to speak always with absolute sincerity; to give expression to vicissitudes of opinion, not fearing the imputation of inconsistency; to make himself as thoroughly informed as his time and opportunities will allow, about everything concerning the Fine Arts, whether directly or indirectly; to enlarge his own powers of sympathy; to resist the formation of prejudices.” The above requirements are well stated for critics who, by reason of the authority of their position as press writers, are teachers of art.
It may be said here that the pictures were completed and packed off in the beginning of October, 1876. In view of a series of large etchings Mr. Hamerton went to Decize, on the Loire, where he hoped to find material for several subjects. He made twenty sketches of the town, river, boats, etc., and then called upon M. Hanoteau, the painter, who had expressed a desire for his acquaintance.
Seeley wrote: "I heartily congratulate you on Richard's great success. It is not often that a young man can so speedily justify his choice of a career." "Human Intercourse" was published in September, and sold well, in spite of its cold reception by the Press. Mr. Hamerton did not allow unfavorable criticism to disturb him much.
On the contrary, the discipline acquired in study and thought has been turned to account in this way, as well as in any other. Mr. Hamerton gives another friend's view of the education needful for a woman, "one of the most intellectual men he ever knew," but "whose wife really knew nothing of his intellectual existence whatever."
The following authors are omitted, I think justifiably: Hallam, Whewell, Grote, Faraday, Herschell, Hamilton, John Wilson, Richard Owen, Stirling Maxwell, Buckle, Oscar Wilde, P. G. Hamerton, F. D. Maurice, Henry Sidgwick, and Richard Jebb. Lastly, here is the list of poets. In the matter of price per volume it is the most expensive of all the lists.
"Well, sir, she's a woman and that's enough," replied the lawyer. "And my opinion is, it's better to have nothing to do with 'em." This sententious remark seemed to arouse Scroggs to momentary vivacity. "Now there was my Lord Hamerton, whose picture is upstairs," he went on quickly, like a man who is bent on grasping certain ideas before they escape him.
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