There Was A Slick French Audacity
About The Workmanship Of These Men Of Toil Unbending That Went
Straight To The Heart Of The Beholder.
And yet it was not
altogether French.
A dry grimness of treatment, almost Dutch,
marked the difference. The men painted as they spoke - with
certainty. The club indulges in revelries which it calls
"jinks" - high and low, at intervals - and each of these gatherings
is faithfully portrayed in oils by hands that know their
business. In this club were no amateurs spoiling canvas, because
they fancied they could handle oils without knowledge of shadows
or anatomy - no gentleman of leisure ruining the temper of
publishers and an already ruined market with attempts to write
"because everybody writes something these days."
My hosts were working, or had worked for their daily bread with
pen or paint, and their talk for the most part was of the
shop - shoppy - that is to say, delightful. They extended a large
hand of welcome, and were as brethren, and I did homage to the
owl and listened to their talk. An Indian club about
Christmas-time will yield, if properly worked, an abundant
harvest of queer tales; but at a gathering of Americans from the
uttermost ends of their own continent, the tales are larger,
thicker, more spinous, and even more azure than any Indian
variety. Tales of the war I heard told by an ex-officer of the
South over his evening drink to a colonel of the Northern army,
my introducer, who had served as a trooper in the Northern Horse,
throwing in emendations from time to time.
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