$rtbattlp ©nntcK ©pugcula 
 fetfutfc to tf)t PlmbtrS of tlje j&ette of 
 ©tfU 'Folunteg. 
 
 No. XIX. 
 
 dtepeafe ani> (jXagtamms 
 in $rf, 1888. 
 
 — BY — 
 
 JAMES ORROCK, R.I., 
 
 Cotmouweur to l?t $tttt of 'Folumtf. 
 
 
Digitized by the Internet Archive 
 in 2017 with funding from 
 
 University of Illinois Urbana-Champaign Alternates 
 
 https://archive.org/details/repeatsplagiarisOOorro 
 
Privately Printed Opuscula 
 Issued to the Members of the Sette of Odd Volumes. 
 
 No. XIX. 
 
 (Repeats anb (pfagtattsmc 
 in $trt. 1888 . 
 
Inw Srai Ama tflSlh ijL jL |A| &$h& JL| a$Jb ^ 
 
 j|^ wpSP vjv wjv ®j® vjO WJv ®[w #[W ®|® ®J® #|® ®[B ©jw BJB ©,' 
 
 REPEATS AND PLAGIARISMS IN 
 ART, 1888. By James Orrock, R.I., 
 Connoisseur to y e Sette of Odd 
 Volumes. Read before the Sette 
 at Willis’s Rooms, St. James’s, on 
 Friday, January 4, 1889. 
 
 ♦ ♦♦♦♦♦♦♦♦♦♦♦♦ 
 
 For private circulation onlie , and to be had of no Bokefellers % 
 
 ♦ ♦♦♦♦♦♦♦♦♦♦♦♦ 
 
 Imprynted by Bro. C. W. H. Wyman, Typographer to y e 
 Sette, at hys Printing-hovse in Great Qveen Street, 
 over against Lincoln’s Inne Fields, within y e Parish of 
 Saynt Giles in y e Fields, London, m.d.ccc.lxxxix. 
 
 dj> ffkln jJa aIa aIa aJa aIa jJa £%Jiat \ aJa aIa |Jn aIa <&JLa 
 
Oruln. 
 
 Non ego ventosce plebis suffragia venor .— Horace, 
 
 W$v& station is ItmiteH strictlp to 133 copies, 
 antJ is imprjmteti for private circulation onlg. 
 
 No. 
 
 v 
 
 \A 
 
 A 
 
 /V 
 
 JPrcSenteti unto 
 
 iSn 
 
 c 
 
 <z5 
 
fstef of (pictures (SrfK&tteb 
 
 §fts^et;man’s 'jSoctsf - George Morland. 
 
 {Repeat.) 
 
 ■§S£it<> gtfcmli - - Richard Wilson, R.A. 
 
 [Repeat.) 
 
 ^fasforaf - - - David Cox. 
 
 {Repeat.) 
 
 (SitgCisB cSkm&scape - David Cox. 
 
 (Plagiarism from John Varley.) 
 
 3>c6f?am ^ocft 
 
 (One of many Repeats.) 
 
 John Constable, R.A. 
 
ON 
 
 QSepeafe anb (JHajiamnts 
 in ($rf. 
 
 Your Oddship and Gentlemen. 
 
 T is not my purpose in this short 
 paper to attempt to enter the wide 
 of ancient Art, but for the sake of 
 argument simply to confine my remarks to 
 that branch of Art which comes readiest to 
 one’s hand, viz.,—the English Art, which will 
 prove all I wish to advance. 
 
 field 
 
2 Repeats and Plagiarisms in Art. 
 
 “ Who steals my purse steals trash ; ’tis some¬ 
 thing, nothing, 
 
 Twas mine, ’tis his, and has been slave to 
 thousands; 
 
 But he that filches from me my good name 
 
 Robs me of that which not enriches him and 
 makes me poor indeed.” 
 
 The world’s verdict for the artist who is 
 guilty of repeating his own work, and for him 
 who steals the brains of other artists, is that 
 he is guilty of grave misdemeanours, and is 
 no longer worthy to belong to the brother¬ 
 hood. Great however as these crimes seem 
 to be it is startling to find they were practised 
 by some of the best masters ; practised 
 largely in fact by many of the great masters ! 
 I will, with your permission, first discuss the 
 crime of repetition which is so abhorred by 
 the art-loving public. In the strict sense of 
 the term to avoid repetition means that the 
 modes of arrangement, as to masses, lines, 
 and effects, should in every picture be 
 
Repeats and Plagiarisms in A rt. 3 
 
 different. Now it is notorious that certain 
 great and fixed laws in picture making have 
 always been acknowledged, and Burnet in 
 his works has clearly laid those laws before 
 his readers. He has done this, not from his 
 own knowledge and taste, but from illustra¬ 
 tions taken from the works of the first 
 masters,—from Titian, Tintoret, Veronese, 
 Rembrandt, Velasquez, and others. These 
 rules or repeats of artistic design and arrange¬ 
 ment are frequently, in these times, called 
 conventional, and strong measures by several 
 leading painters have been adopted in the 
 opposite, so called realistic style of painting. 
 In past times, after the laws in composition 
 of masses, colour and so forth had been 
 admitted, the individuality or personality of 
 the painter was of course added, and accord¬ 
 ing to the force of this individuality the rank 
 of the painter was fixed. This mannerism is 
 as marked as a tone of voice or a man’s 
 handwriting, and its recurrence is always 
 
4 Repeats and Plagiarisms in A rt . 
 
 perfectly distinct and obvious to the seeing 
 critic. The style is called Rembrandtesque, 
 Tumeresque, and so forth. To the keen 
 observer a master is known more by his 
 chords of colour than perhaps by any other 
 feature, and when the “ touch ” is added the 
 work is pronounced to be genuine. 
 
 In these deep and essential points there¬ 
 fore an artist may be said to repeat himself. 
 
 I am, however, well aware that this is not 
 what is meant by repetition in the ordinary 
 sense ; what is meant is painting the same 
 subject and with the same effect again and 
 again. Strictly speaking, however, no artist 
 ever did this, for he can more easily and 
 freely paint a repeat, especially if it be a 
 landscape, in a general way than he can 
 make a slavish copy. This he absolutely 
 cannot do, altho’ from his own work, and if 
 any one will take the trouble to examine a 
 repeat, say by Wilson or Constable, he will 
 find alterations, and often in important 
 
Repeats and Plagiarisms in Art . 5 
 
 features. This may be called a free transla¬ 
 tion of his own creation. A servile copy by 
 a mechanic would be more slavishly correct, 
 but the colour and touch and handling would 
 be muffled and woolly. It may perhaps 
 surprise those not deeply versed in such 
 matters to know, that many of the best 
 painters made repeats of their works. I 
 know for instance of two finished and gem¬ 
 like drawings by Turner, of Berwick-on- 
 Tweed, for the Scott series; one I saw at the 
 house of the late Mr. Lessels, an architect at 
 Edinburgh; the other was sold at the Monro 
 Sale at Christie’s. I have heard of a third ! 
 I have seen three pictures by Morland of 
 the “ Fisherman’s Toast,” six of Richard 
 Wilson’s “White Monk,” four of the “Falls 
 of Terni,” and four of the large picture 
 called “ Hadrian’s Villa.” There is one in 
 the National Gallery. I have the honor of 
 possessing a second, and there are two more 
 which belong to personal friends of mine. 
 
6 Repeats and Plagiarisms in Art. 
 
 In the recent Glasgow Exhibition there was 
 a picture belonging to Mr. Donald, called 
 “ The Evil Eye,” by John Phillip, and my 
 late friend, Mr. Stuart Smith, bequeathed its 
 repeat to the Stirling Smith Institute, where 
 it now is. Those pictures seem to be the 
 same size, and I hear there is a third a good 
 deal larger. 
 
 Of all repeaters, however, Constable, the 
 pet landscape painter of the English School, 
 must surely be the greatest. I wonder how 
 many Dedham Locks and Dedham Vales 
 there are of all sizes? The Diploma Gallery 
 in Burlington House has one of Dedham 
 Lock, Mr. Morrison has another, and I 
 know of several besides of various sizes. I 
 dare say, like Wilson’s “ White Monk,” with 
 searching and burrowing a dozen or perhaps 
 even a score could be unearthed. There are 
 of course also many copies done no doubt 
 from the engravings; and it is amusing to 
 see the genuine pictures denounced even by 
 
Repeats and Plagiarisms in Art. 7 
 
 those who ought to be better judges ! All the 
 real ones however are slightly different, and 
 sometimes markedly so. Rembrandt, Cuyp, 
 Reynolds, Gainsborough, Etty, Wilkie, Cox, 
 Fielding, and a host of others, including 
 Velasquez himself, made repeats, but always 
 freely translated. It is a sad pity that Titian 
 did not make a replica of his “ Peter Martyr,” 
 and the world would have been consoled for 
 the loss of that masterpiece. I contend that 
 repeats of fine pictures should be encouraged, 
 not denounced, so as to have a reserve in 
 case of accident. Repetition then, when the 
 work is worthy, is no crime, but much the 
 reverse, and if it be a sign of weakness, 
 the greatest of the masters indulged in it. 
 
 In these prolific times artists should be 
 sparing however of this practice, and none 
 but repeats from the most gifted should be 
 tolerated. In every generation, no matter 
 how large the number of painters, there can 
 only be, as with poets and ^other men of 
 
8 Repeats and Plagiarisms in A rt. 
 
 genius, a very limited number whose works 
 will live. It has invariably happened, par¬ 
 ticularly among landscape painters, that the 
 best talent has suffered neglect, and the 
 marvel is how at last it has struggled through 
 the mass of ignorance and prejudice. 
 
 It is often said that art now is much more 
 appreciated than at any time during the cen¬ 
 tury. There are certainly more babblers 
 about it, and myriads who practise it, but it 
 is only more fashionable , especially since 
 Professor Ruskin gave it a place in literature. 
 The true men always studied it and looked 
 out for it, as they do now, but the masses 
 never were capable of studying it and never 
 will be. The true men are still with us, but 
 they are often hemmed in and shouted down 
 by the great sensational crowd by whom in 
 these days they are surrounded! Fine art is 
 never so well appreciated as when great men 
 are living in clusters; for they instinctively 
 
Repeats and Plagiarisms in Art. 9 
 
 work together on the same lines, as do also 
 the little men when their day arrives. 
 
 England, like the Venetians and Dutch, has 
 had the great painters in clusters, and the 
 public one day will believe it when the lump 
 of ignorance is leavened by those who know. 
 Of course when familiar names are mentioned 
 and works shown, everybody bows and 
 admires, but as a rule they know not what 
 they are looking at. Turner and Constable 
 they are sure were great men, but their 
 knowledge stops here unless it may be they 
 know something of their personal history, 
 which is so constantly introduced in place of 
 knowledge of the art itself. Carlyle takes the 
 liberty to “ deny altogether the Frenchman’s 
 criticism that no man is a Hero to his valet 
 de chambre, or if so, it is not the Hero’s 
 blame, but the valet’s; for the valet does not 
 know a Hero when he sees him! Alas no : 
 it requires a kind of Hero to do that.” Just 
 so, it requires a kind of Hero to know the 
 
i o Repeats and Plagiarisms in A rt . 
 
 works of such masters as I speak of. I firmly 
 believe, in spite of all this furore for art, with 
 these congresses and councils, and all the 
 rest of it, that there are not a hundred men 
 in these islands whose judgment is reliable 
 on the true merits of the works of those 
 subtle masters, and I as firmly believe that 
 there are not fifty in London who could tell 
 the merits of a Constable, Crome or Cotman 
 without the aid of what is called a pedigree. 
 How then is such art as that, supposing it to 
 be present among us now , to be recognised ? 
 Those judges practical and otherwise must 
 as before leaven the lump with the same 
 obstacles before them. One of those English 
 masters told me some years ago, that he was 
 certain there were as few good judges as 
 there were good artists. I will prove to you 
 from personal experience the process of 
 leavening and raising a master from the ditch. 
 About twenty years ago I happened to be in 
 Birmingham, and I called, as was my habit 
 
Repeats and Plagiarisms in Art . 11 
 
 when I went there, on my old and valued 
 friend the late Mr. William Hall, the same 
 who was David Cox’s intimate friend, and 
 wrote his life. Hall was himself an artist 
 and connoisseur, and frequently accompanied 
 Cox on his sketching expeditions. It hap¬ 
 pened he had a beautiful picture in oil by 
 his favourite artist to clean and get ready for 
 sale; for the owner wished to part with it 
 and others. I expressed my delight with the 
 picture, and said I should like to possess it. 
 He astonished me, however, with the price : 
 for he had already told me of the small sum 
 Cox had for painting such a work. I think he 
 asked 350 guineas for this little picture—in 
 size about 18 by 24. It was a gem certainly, 
 and called “Peace and War.” Hall told me 
 he saw Cox painting it; he began it one 
 afternoon and finished it next morning; 
 having covered it during the night with a 
 damp cloth to keep the painting “ wet,” for 
 Cox always tried to paint his oil pictures as 
 
12 Repeats and Plagiarisms in Art . 
 
 far as he could by the “ first intention, 7 ’ 
 which is painting at once, without scumbling 
 and glazing, to keep the tints pure and 
 unsullied. The price frightened me; although 
 Hall predicted that one day it would be 
 much more valuable, and I should most 
 likely never again have so fine a specimen 
 offered to me. 
 
 Hall in a few days shewed it to the late 
 Mr. Gillott, who bought it. Mr. Gillott some 
 time afterwards shewed it to me with many 
 other Coxes in his galleries, and said he was 
 glad I had not taken it. What however I 
 wish to make clear is this ; it needed a 
 Gillott with millions to place Cox on a ped¬ 
 estal. Cox of course always had many 
 admirers among the masses, although truly 
 the number comparatively was small. I had 
 the honour of being one of them, and 
 possessed then, as I do now, a number of his 
 lovely drawings in water colours and several 
 pictures in oil. At the time I bought Cox’s 
 
Repeats and Plagiarisms in Art . 13 
 
 pictures the prices were very modest; fifteen 
 or twenty pounds being a fair price for his oil 
 pictures. Had the “ Peace and War ” been 
 double or even treble what I had been accus¬ 
 tomed to pay I would gladly have given it. 
 The Gillott port however was now opened, 
 and, as was his wont, he “ plunged ” and 
 bought largely. Previously to about this 
 time, Hall said, Gillott did not like Cox’s 
 works, “for they lacked atmosphere,” and he 
 therefore never bought them. The fact, how¬ 
 ever, is plainly this, the dollars must be in 
 front of the judges, who generally have no 
 dollars to spare. The artist’s work then, and 
 not till then, come into fashion, and with a 
 rush. At the Gillott sale, a few years after 
 this, the little “Peace and War,” after an 
 exciting competition, was knocked down at 
 Christie’s for as many thousands as Hall asked 
 hundreds. It rose at those two periods with 
 more than an additional cipher added each 
 time to Cox’s first price. At page 54 of 
 
14 Repeats and Plagiarisms in Art . 
 
 Hall’s “Life of Cox” we find the following 
 about the “ Peace and War,” or the “ Lan¬ 
 caster Castle,” as it was sometimes called: 
 “It was originally presented by the artist to 
 an old friend, who fell in love with it. This 
 gentleman kept it in his possession several 
 years until he had forgotten how he came by 
 it, or, at all events, until one day he was hard 
 pressed for money, and meditated selling the 
 picture. Meeting the artist accidentally, he 
 said, ‘ Mr. Cox, I’ve got a picture of your 
 painting; I am short of'money at this time, 
 should you mind if I sold “ Lancaster Castle.” ’ 
 ‘ Oh, not at all,’ replied Cox; ‘ sell it to 
 me; if you remember I gave it to you.’ 
 This took the owner somewhat aback; but 
 the end of it was that Cox purchased his 
 own present from his friend, and gave the 
 sum of twenty pounds. He afterwards sold 
 it for the same price.” At Gillott’s sale it 
 fetched ^3,601. This is the highest sum 
 ever paid I believe for a landscape of that 
 
Repeats and Plagiarisms in Art . 15 
 
 size in oil. I could give many more similar 
 experiences. Some artists would sneer and 
 say— commercial gambling ! perhaps so. I 
 think, for one, that element probably was not 
 absent; but the startling novelty was this : 
 here was an oil picture by a water-coloiir 
 artist, who was pooh-poohed as no painter 
 at all in oil, like Holland, Dewint, Fielding, 
 and George Barret, all water-colour painters, 
 but nothing more ! It may however surprise 
 some of my audience when I say that now at 
 the exhibitions of gems by deceased masters, 
 at Burlington House and everywhere else, 
 the scoffed-at works of those humble painters 
 in water-colours command places of honour ! 
 This cannot be fashion, for the councils at 
 those exhibitions throughout the country are 
 largely composed of artists and connoisseurs. 
 Surely this would not happen now> when all 
 the world is up and doing ? It does happen 
 now, and George Dodgson and John Bur¬ 
 gess, who were both personal friends of 
 
16 Repeats and Plagiarisms in Art . 
 
 mine, are examples. They were only water¬ 
 colour painters like those named it is true, 
 and members of the “ Old Society.” Their 
 drawings to-day go begging. Dodgson was 
 as elegant in his art as Watteau, and Burgess 
 had no superior as an architectural artist. 
 
 The pronounced individuality of those 
 men most likely, as usual, kept them in the 
 background. It would be invidious to name 
 living men whose works will be added to the 
 English classic list; but some exist, and the 
 same discerners who foretold the places of 
 the others, thirty years ago, may be safely 
 trusted to predict the same for the few who 
 live to-day. Among that number the water¬ 
 colour men will again have their full share ! 
 As a rule we have too much science mixed 
 up with art in these days. A true painter’s 
 work is not like a scientific diagram of 
 nature’s varied features, but an artistic ideal 
 or impression suggested by nature; as in the 
 best designs in colour and form, which really 
 
Repeats and Plagiarisms in Art . 17 
 
 are never direct copies of natural objects. 
 Multitudes now know from books and the 
 study of nature infinitely more of the varied 
 effects in clouds, sea, and land, than all the 
 old masters, including our own Turner and 
 the rest. We never see in the works of those 
 masters seas, skies, trees, rocks, &c., so real 
 as what are so constantly exhibited nowa¬ 
 days. We have few pictures as to grand 
 ideal artistic composition for instance, sug¬ 
 gested by nature, but studies of all sizes and 
 kinds as seen through a pane of glass, such 
 as Alma Tadema meant when at the Liver¬ 
 pool Congress he stated that he did not see 
 why people should go to foreign schools to 
 learn to paint sand with a bit of glass and a 
 figure in the foreground. This is no doubt 
 why the old art is often term “ exploded 
 art,” and why the new era is hailed as the 
 opening of day ! Turner and his brethren 
 painted we know artistic impression pictures, 
 with light and tone and gradation of distance, 
 
18 Repeats and Plagiarisms in A ri. 
 
 conventional composition, as it is now often 
 called, but the whole work clothed in tone 
 and harmonious colour. If the new school 
 is right the old must be wrong; for plainly 
 they do not belong in any way to the same 
 brotherhood. 
 
 Reynolds, Gainsborough, and lately Rom¬ 
 ney have become a furious fashion, deservedly 
 so it may be. Why not Raeburn and Etty ? 
 Raeburn has painted finer portraits, male and 
 female, than Romney, and Etty’s magnificent 
 pictures in the Edinburgh Gallery alone, 
 answer for him! In that gallery you may 
 also see Raeburn at his best. But those 
 great men of Turner’s and Reynolds’s brother¬ 
 hood, with Richard Wilson and others who 
 are at present neglected, are in the lifeboat 
 of art! They will disappear for a time in 
 the trough of the sea of fashion, but will 
 assuredly re-appear again and again on the 
 crest of the wave of fame. The ordinary 
 artists whose patron is the successful citizen, 
 
Repeats and Plagiarisms in Art. 19 
 
 like an annual, bloom only for a season, but 
 the masters never die. 
 
 In the words of Sir Joshua Reynolds, “The 
 works of those who have stood the test of 
 ages have a claim to that respect and venera¬ 
 tion to which no modern can pretend.” I 
 have digressed, for which I apologize; but as 
 in a post-prandial speech with your indul¬ 
 gence, I have embraced an opportunity. 
 
 (pfctgtdmme. 
 
 What punishment is there severe enough 
 for an artist who steals the brains of his 
 fellow-artist ? 
 
 To be a plagiarist is by the multitude con¬ 
 sidered mean and dishonourable. Such an 
 offender is scouted by his fellows. In art, 
 however, no sin is so common, and it has 
 been practised by most of the great masters. 
 Even Velasquez himself, although isolated, 
 borrowed ideas, and after his visit to Italy 
 
20 Repeats and Plagiarisms in Art . 
 
 even imitated occasionally the styles and 
 modes of work, as far as he could, of Titian, 
 Veronese and other Venetian masters. Two 
 winters ago there was a Velasquez in the 
 manner of the Venetians in the old masters' 
 exhibition at Burlington House, and its stamp 
 was so Venetian that numbers of artists, and 
 even some experts, challenged its genuineness. 
 Vandyke was occasionally so like Rubens 
 that several of his pictures are disputed. 
 Continually we have battles about the authen¬ 
 ticity of a picture, one set of experts declar¬ 
 ing for one master and vice versa. There 
 was lately added to the National Gallery a 
 picture, I think from the Hamilton sale, 
 which was sold as Giorgione. It is now 
 called of the Venetian school; but the best 
 experts call it Titian—subject: “Venus and 
 Adonis.” The Dutch masters are constantly 
 being mixed up, and indeed all great and true 
 painters have a family likeness; and when we 
 see the reverse, those painters are generally 
 
Repeats and Plagiarisms in Art . 21 
 
 inharmonious and puerile in technique. In 
 a word they may be what is termed original, 
 but they do not belong to the brotherhood. 
 
 Of all nations the English have perhaps 
 been the greatest plagiarists in art. This 
 must be a compliment, nay, a merit, for our 
 school was founded, in the broad sense, on 
 those of the Venetians and the Flemish and 
 Dutch. We have been a nation of colourists, 
 and therefore true painters, which accounts 
 for ourimitating the best of the old masters, 
 and adding to the imitation our own national 
 individualities. 
 
 Emerson in his essay on Shakespeare says, 
 “ Great men are more distinguished by range 
 and extent than by originality. If we require 
 the originality which consists in weaving like 
 a spider, their web from their own bowels; 
 in finding clay and making bricks and build¬ 
 ing the house, no great man is original. 
 Nor does valuable originality consist in 
 unlikeness to other men. The greatest genius 
 
22 Repeats and Plagiarisms in Art . 
 
 is the most indebted man.” Again, he says, 
 “It has come to be practically a sort of 
 rule in literature, that a man having once 
 shewn himself capable of original writing, is 
 entitled thenceforth to steal from the writings 
 of others at discretion. Thought is the 
 property of him who can adequately place it. 
 A certain awkwardness marks the use of 
 borrowed thoughts; but as soon as we have 
 learned what to do with them they become 
 our own. Thus all originality is relative . 
 Every thinker is retrospective.” He tells us 
 that Shakespeare himself was a borrower— 
 his words are, “In point of fact it appears 
 that Shakespeare did owe debts in all direc¬ 
 tions, and was able to use whatever he found.” 
 He says, “Malone states that out of 6*043 
 lines in the first, second, and third parts of 
 Henry VI., 1771 were written by others pre¬ 
 ceding Shakespeare, 2*373 by him on the 
 foundation laid by his predecessors, and 1 *899 
 were entirely his own, and the preceding 
 
Repeats and Plagiarisms in Art. 23 
 
 investigation hardly leaves a single drama of 
 his absolute invention.” 
 
 There is no choice to genius—a great man 
 does not wake up on some fine morning and 
 say, “ I am full of life, I will go to sea and 
 find an antarctic continent, to-day I will 
 square the circle : I will ransack botany and 
 find a new food for man: I have a new 
 architecture in my mind : I foresee a new 
 mechanic power; no, every master finds his 
 materials collected and his power lies in his 
 sympathy with his people and in the love of 
 the materials he wrought in. What an 
 economy of power ! and what a compensa¬ 
 tion for the shortness of life! All is done to 
 his hand.” 
 
 So also Russell Lowell in his essay on 
 Dry den remarks, “He is always imitating— 
 no, that is not the word—always emulating 
 somebody in his more strictly poetical 
 attempts, for in that direction he always 
 needed some external impulse to set his mind 
 
24 Repeats and Plagiarisms in A rt . 
 
 in motion. This is more or less true of all 
 authors ; nor does it detract from their 
 originality, which depends wholly on their 
 being able so far to forget themselves as to 
 let something of themselves slip into what 
 they write.” “Writers who have no past are 
 pretty sure of having no future.” “ Dryden 
 certainly gave even a liberal interpretation to 
 Moliere’s rule of taking his own property 
 wherever he found it, though he sometimes 
 blundered awkwardly about what was pro¬ 
 perly his; but in literature, it should be 
 remembered, a thing always becomes his at 
 last who says it best, and then makes it his 
 own.” So it is also with the great painters. 
 
 The great English painters borrowed and 
 appropriated what was best from the ances¬ 
 tral branches of the grand family and thus 
 founded our great English school. Of all 
 men, Turner, like Shakespeare, added to his 
 borrowing the greatest degree of individuality, 
 it being most marked and his range the most 
 
Repeats and Plagiarisms in Art . 25 
 
 extended. Turner imitated and more than 
 rivalled, Claude, Gaspar Poussin, Vander- 
 velatt, Cuyp, and our own Wilson and De 
 Loutherbourg. His water-colour drawings 
 were, however, more individual than his oil 
 pictures, for although he practised all up to 
 Cozens and Girtin, he reached a region far 
 beyond the ken of any one. As to Cox, 
 Dewint, Crome, Cotman, and others, they too 
 had the family features, for in many cases, in 
 their early work at least, it is difficult to tell 
 the real painters. At the Burlington Arts 
 Club in Savile Row, there is at present an 
 exhibition of water-colour drawings by Cot- 
 man. Among them will be seen plagiarisms 
 from Turner’s “Liber Studiorum,” and oddly 
 enough, not only plagiarisms but a repeat of 
 the plagiarisms. 
 
 Now-a-days we have art congresses and 
 multitudes of school of art teachers, and as a 
 result we have of course a vast army of 
 artists, many of whom, as I before said, 
 
26 Repeats and Plagiarisms in A rt. 
 
 think and say the o\d art is exploded and 
 the new is the heaven-born era. We hear of 
 “values” and “technique” and “truths'’ 
 never before depicted. One fancies somehow 
 that the greatest “value” after all is the 
 existence of the born painters. It seems odd 
 that all the old art should be worthless ! for 
 it must plainly be an exception to the art of 
 sculpture, architecture, etching, engraving, 
 artistic designs of all kinds in wood, metals, 
 fabrics and ceramic wares. Ancient litera¬ 
 ture, too, is as rich and golden as ever, and 
 yet this art of painting, now we have such a 
 huge and rejoicing crop of artists, alone 
 claims a new and original standpoint. I 
 have personally heard some modern men say 
 that were all the old masters sunk in mid 
 ocean the world of art would be benefited ! 
 A few weeks ago at the meeting of the Art 
 Congress at Liverpool, many amusing and 
 instructive discussions took place. The 
 President of the R.A. spoke highly of French 
 
Repeats and Plagiarisms in Art. 27 
 
 art and taste, but he was opposed by a 
 prominent R.A., himself a foreigner. One 
 of the celebrities outside the charmed circle 
 denounced the system of teaching at the 
 Royal Academy, which was again combated 
 by one of the body. Mr. Holman Hunt said, 
 after denouncing the system of art instruction 
 at the Royal Academy and South Kensington 
 Schools, “the most excellent system was that 
 pursued by the old masters who had their 
 students in their own studios.” He allowed 
 that much valuable instruction might be 
 given by the English painters of the Royal 
 Academy, but the drawback was that “ he 
 had the impression that the really desirable 
 masters generally deputed a substitute glad 
 of a guinea to act for him.” The system of 
 teaching by English masters in their own 
 studios, and at the houses of their pupils, was 
 however extensively practised a quarter of a 
 century ago, and for the humble fee of one 
 guinea, the present charge, according to Mr. 
 
 D 
 
28 Repeats and Plagiarisms in Art . 
 
 Holman Hunt, for the deputy at the Royal 
 Academy ! It is true they were only for the 
 most part water-colour painters. Their names 
 were Turner in early years, Cozens, Varley, 
 Dewint, Fielding, Barret, and others. Old 
 Crome of Norwich, too, in his high-wheeled 
 gig, drove about giving lessons, and for less 
 than the Royal Academy Deputy’s fee. Per¬ 
 haps those painters would not be counted as 
 worthy to instruct now-a-days, but their 
 works both in oil and water-colour have 
 reached the high places and will probably 
 remain there ! However, there can be no 
 doubt that the only real teacher must be he 
 who can himself paint; as the best instructor 
 on any musical instrument must be the most 
 skilled player, provided always the pupil is 
 capable of receiving such instruction. Depu¬ 
 ties would not be allowed when those English 
 masters taught, nor would they in the case of 
 first-class musicians. 
 
 People may, and no doubt for ever will, 
 
Repeats and Plagiarisms in A rt. 29 
 
 cavil at the Royal Academy. But figure 
 painters in oil, as a rule , and sculptors, archi¬ 
 tects and engravers, have so far nothing to 
 complain of; for with few exceptions the 
 best artists in these departments have 
 belonged to the Royal Academy. 
 
 The galaxy of names since the great Presi¬ 
 dent’s time will answer all cavils on this head. 
 Landscape artists of course have not fared so 
 well, and this after all is our national art. 
 In figure, both in painting and sculpture, we 
 have been excelled by foreign nations, but in 
 landscape we have reigned supreme, and in 
 water-colours we have not even had competi¬ 
 tors. Mr. Crane at the Art Congress speaks 
 of design being the Cinderella of England’s 
 art;—not so ; the water-colour is the true 
 Cinderella, for it has been England’s most 
 original art, and has had no benefits from 
 the great ones, but on the contrary has been 
 self-supporting, modest and uncomplaining. 
 
 The limits of this short paper will not 
 d 2 
 
30 Repeats and Plagiarisms in Art . 
 
 permit me to enter a field which of all others 
 has produced most repeats and most plagiar¬ 
 isms—I mean that of design in every depart¬ 
 ment. Painters and sculptors of the first 
 rank, as I have shewn, have always appre¬ 
 ciated and imitated the gifted artists of 
 ancient times, and in our own day painters, 
 chiefly English, have by force of their indi¬ 
 viduality, as in the case of Turner and many 
 of our water-colour painters of landscape, 
 added much to what was done before. But 
 what shall we say to architecture and design 
 in all their branches ? The artists have not 
 only added nothing of value to the great 
 models, but when a work is successful it is 
 either a direct copy or at least such an adapta¬ 
 tion that the merit of the work rests entirely on 
 the original. What is added to smother the 
 true art is sometimes called original , whereas 
 it is almost without exception puerile and 
 grotesque. We see buildings of vast size and 
 often it is true of grand effect, especially 
 
Repeats and Plagiarisms in Art. 31 
 
 under nature’s pictorial treatment, and which 
 in point of scientific construction and splendid 
 workmanship in stone, brick, metals, and 
 marbles cannot be surpassed; but with the 
 almost invariable drawback, the designs in 
 mass and in detail are hopelessly behind the 
 scientific workmanship. In a word it seems 
 to be that unless the artistic features are 
 almost wholly stolen from the past masters, 
 in this particular the work is worthless. The 
 proof of the absence of artistic taste in most 
 of our modern designers may be found in 
 the wholesale distinction of the beautiful 
 ornamentation in the houses of the eighteenth 
 century, and which until recently was a feature 
 of London. If taste is so refined now-a-days 
 “with a’ their colleges and schools,” as 
 Burns has it, why are our nerves to be so 
 disturbed by the presence of the vile so- 
 called artistic furniture and fittings, which so 
 flauntingly usurp in most of those Georgian 
 houses, and other homes of the sacred art ? 
 
32 Repeats and Plagiarisms in Art. 
 
 The painter, however, is not so enthralled as 
 the artists in design, for an original painter is 
 by no means so rare as a “true” artist in design 
 or architecture, A master in these branches 
 is the rarest of all. Of course an artist in 
 one department of art is often challenged by 
 the so-called professional as to his knowledge 
 in another department. His knowledge of 
 technique and terms is questioned ; but can 
 a sound man, say in landscape, not appre¬ 
 ciate a portrait by Rembrandt or Sir Joshua 
 because he is not a portrait painter ? Can a 
 man of true artistic instincts not appreciate 
 what is beautiful in form and harmonious in 
 colour because he has not been apprenticed 
 to a certain department of art ? On that 
 principle our best poets and painters had no 
 business to sing or paint without having gone 
 through a set curriculum of prescription ! I 
 fancy somehow the true appreciation of the 
 Greek art as to form, and of the Persian art as 
 to colour, is not alone for the dealers in or 
 
Repeats and Plagiarisms in Art. 33 
 
 adapters of them. The man of true artistic 
 instincts feels at once the vibrations which 
 thrill through every fibre of the living art ! 
 
 Mr. Crane's Cinderella then as to design 
 must I fear take a back seat on the coach 
 and six, while the English landscape art 
 rides inside. 
 
 In conclusion, I would say let us continue 
 our repeats and plagiarisms when the works 
 are precious; and study deeply and assimilate 
 all that is excellent in those of gifted men. 
 In Sir Joshua’s words, “To bring us entirely 
 to reason and sobriety, let it be observed 
 that a painter must not only be of necessity 
 an imitator of the works of nature, which 
 alone is sufficient to dispel this phantom of 
 inspiration, but he must be as necessarily an 
 imitator of the works of other painters : this 
 appears more humiliating, but is equally true; 
 and no man can be an artist, whatever he 
 may suppose, upon any other terms." 
 

 A 
 
 BIBLIOGRAPHY 
 
 OF THE 
 
 PRIVATELY PRINTED OPUSCULA 
 Issued to the Members of the Sette of Odd Volumes . 
 Imprynted by Bro r C. W. H. Wyman, 
 
 Typographer vnto y e Sette , at hys Printinge-hovfe in Great 
 Qveene Street, overagaynft Lincoln’s Inne Fields, wythin 
 y e Paryfhe of Saynt Giles in y e Fields 
 in Londonne . 
 
 “ Books that can be held in the hand, and carried to the fire¬ 
 side, are the best, after all .”—Samuel Johnson. 
 
 “The writings of the wise are the only riches our posterity 
 cannot squander .”—Charles Lamb^ 
 
 I. B. <©. 
 
 A Biographical and Bibliographical Fragment.. 22 Pages. 
 Presented on November the 5th, 1880, by His Oddship 
 C. W. H. Wyman. 1st Edition limited to 25 copies. 
 
 (Subsequently enlarged to 50 copies.) 
 
 II. <©Io£JSogtapI)ta &njjltcatta. 
 
 By the late J. Trotter Brock ett, F. S. A.,London and New- 
 castle, author of “ Glossary of North Country Words,” 
 to which is prefixed a Biographical Sketch of the Author 
 by Frederick Bloomer, (pp. 94.) Presented on July 
 the 7th, 1882, by His Oddship Bernard Quaritch. 
 
 Edition limited to 150 copies. 
 
Bibliography of Odd Volumes. 
 
 III. |>e of tc <©BB 'Folunus 
 
 from 1878 to 1883. Carefvlly Compiled and painsfvlly Edited 
 by y e vnworthy Historiographer to y e Sette, Brother and 
 Vice-President William Mort Thompson, and produced 
 by y e order and at y® charges of Hys Oddship y e President 
 and Librarian of y e Sette, Bro. Bernard Quaritch. 
 (pp. 136.) Presented on April the 13th, 1883, by His 
 Oddship Bernard Quaritch. 
 
 Edition limited to 150 copies. 
 
 IV. Hobe’S ©atlanB ; 
 
 Or Posies for Rings, Hand-kerchers, & Gloves, and such 
 pretty Tokens that Lovers send their Loves. London, 1674. 
 A Reprint. And Ye Garland of Ye Odd Volumes, (pp. 102.) 
 Presented on October the 12th, 1883, by Bro. James 
 Roberts Brown. Edition limited to 250 copies. 
 
 V. <©umi finite fHuStrk. 
 
 A brief Accompt of y e genuine Article, those who performed 
 y e same, and y e Masters in y e facultie. From 1702 to 
 1714. (pp. 40.) Presented on July the 13th, 1883, by 
 Bro. Burnham W. Horner. 
 
 Edition limited to 100 copies. 
 
 VI. fl 'Fern COBB ©team. 
 
 Related by His Oddship W. M. Thompson, President 
 of the Sette of Odd Volumes, at the Freemasons’ Tavern, 
 Great Queen Street, on June 1st, 1883. (pp. 26.) Pre¬ 
 sented on July the 13th, 1883, by His Oddship W. Mort 
 Thompson. Edition limited to 250 copies. 
 
 VII. CoBejr Cfyiromanttae. 
 
 Being a Compleate Manualle of y e Science and Arte of 
 Expoundynge y e Past, y e Presente, y e Future, and ye 
 Charactere, by ye Scrutinie of y e Hande, y e Gestures 
 thereof, and y e Chirographie. Codicillus /. Chirognomy 
 (pp. 118.) Presented on November the 2nd, 1883, by Bro. 
 Ed. Heron-Allen. Edition limited to 133 copies. 
 
Bibliography of Odd Volumes . 
 
 VIII. Jhitaglto 3 £ngrabtng: $ 3 agt aufc 
 
 present. 
 
 An Address by Bro. Edward Renton, delivered at the 
 Freemasons’ Tavern, Great Queen Street, on December 5, 
 1884. (pp. 74.) Presented to the Sette by His Oddship 
 Edward F. Wyman. Edition limited to 200 copies. 
 
 IX. ®f)e 3 &tgi)ts, UuttfS, ©bltgationg, 
 
 aub SUbantageS of $?oSpttaltt». 
 
 An Address by Bro. Cornelius Walford, F.I.A., 
 F.S.S.j F.R.Hist.Soc., Barrister-at-Law, Master of the 
 Rolls in the Sette of Odd Volumes, delivered at the 
 Freemasons’ Tavern, Great Queen Street, on Friday, 
 February 5, 1885. (pp. 72.) Presented to the Sette by 
 His Oddship Edward F. Wyman. 
 
 Edition limited to 133 copies. 
 
 X “ Ink, anU iPaptr ” : a ©tsJomvsfe 
 upon Caltgrapfyn. 
 
 The Implements and Practice of Writing, both Ancient and 
 Modern, with Curiosa, and an Appendix of famous English 
 Penmen, by Bro. Daniel W. Kettle, F.R.G.S., Cosmo- 
 grapher; delivered at the Freemasons’ Tavern, Great 
 Queen Street, on Friday, November 6th, 1885. (pp. 104.) 
 Presented to the Sette on January 8th, 1886, by Bro. 
 Daniel W. Kettle. Edition limited to 233 copies. 
 
 XI. 0 n J*>omt of tljo 33 ook$ for 
 of tl)t Hadt Cmturp. 
 
 With a few Words on the Philanthropic Publisher of 
 St. Paul’s Churchyard. A paper read at a Meeting of the 
 Sette of Odd Volumes by Brother Charles Welsh, 
 Chapman of the Sette, at the Freemasons’ Tavern, on 
 Friday, the 8th day of January, 1886. (pp. 108.) Presented 
 to the Sette by Bro. Charles Welsh. 
 
 Edition limited to 250 copies. 
 
Bibliography of Odd Volumes. 
 
 XII. dfrosit dFatrg on tfye Cfyames. 
 
 An Address by Bro. Edward Walford, M.A., Rhymer 
 to the Sette of the Odd Volumes, delivered at Willis’s 
 Rooms on Friday, December 3, 1886. (pp. 76.) Presented 
 to the Sette by His Oddship George Clulow. 
 
 Edition limited to 133 copies. 
 
 XIII. ©it Coloured JJoo&S for CJjtlfcren. 
 
 By Bro. Charles Welsh, Chapman to the Sette. Read 
 before the Sette, at Willis’s Rooms, on Friday, the 6th 
 May, 1887. With a Catalogue of the Books Exhibited, 
 (pp. 60.) Presented to the Sette by Bro. James Roberts 
 Brown. Edition limited to 255 copies. 
 
 XIV. S ^Ijort g>fettd) of Ettutgual 
 
 fjtsitory ant) HtUratute. 
 
 Illustrated by Examples Manuscript and Printed. A 
 Paper read at a Meeting of the Sette of Odd Volumes by 
 Bro. Bernard Quaritch, Librarian and First President 
 of the Sette, at Willis’s Rooms, on Friday, 10th June, 
 1887. (pp. 86.) Presented to the Sette by Bro. Bernard 
 Quaritch. 
 
 XV. Cornelius 22Kalfort): fn ftfltmottam. 
 
 By his Kinsman, Edward Walford, M.A., Rhymer to 
 the Sette of Odd Volumes. Read before the Sette at 
 Willis’s Rooms, on Friday, the 21st October, 1887. (pp. 
 60.) Presented to the Sette by Bro. Edward Walford, 
 M.A. Edition limited to 255 copies. 
 
 XVI. ideating 
 
 By Bro. Frederick H. Gervis, M.R.C.S., Apothecary 
 to the Sette of Odd Volumes, delivered at Willis's Rooms, 
 on Friday, November 4th, 1887. (pp. 48.) Presented to 
 the Sette by Bro. Fred. H. Gervis. 
 
 Edition limited to 133 copies. 
 
Bibliography of Odd Volumes. 
 
 XVII. fieto Star’s Bag tn $apan. 
 
 By Bro. Charles Holme, Pilgrim of the Sette of Odd 
 Volumes. Read before the Sette at Willis’s Rooms on 
 Friday, January 6, 1888. (pp. 46.) Presented to the Sette 
 by Bro. Charles Holme. Edition limited to 133 copies. 
 
 XVIII. "iTc J&tcontft JJofet of UTe ©111 
 Volumes, 
 
 from 1883 to 1888. Carefvlly Compiled and painsfvlly Editea 
 by y e vnworthy Historiographer to y e Sette, Bro. William 
 Mort Thompson, and produced by y e order and at y e 
 charges of y e Sette. (pp. 157.) 
 
 Edition limited to 115 copies. 
 
 XIX. SStpeatfi anU J3Iagtaris'nt£ tti girt, 1888 . 
 
 By Bro. James Orrock, R.I., Connoisseur to the Sette of 
 Odd Volumes. Read before the Sette at Willis’s Rooms, 
 St. James’s, on Friday, January 4, 1889 (pp. 33.) Pre¬ 
 sented to the Sette by Bro. James Orrock, R.I. 
 
 Edition limited to 133 copies. 
 
Bibliography of Odd Volumes. 
 
 MISCELLANIES. 
 
 1. inaugural StottretfS 
 
 of His Oddship, W. M. Thompson, Fourth President 
 of the Sette of Odd Volumes, delivered at the Freemasons’ 
 Tavern, Great Queen Street, on his taking office on April 
 13th, 1883, &c. (pp. 31.) Printed by order of Ye Sette, 
 and issued on May the 4th, 1883. 
 
 Edition limited to 250 copies. 
 
 2. CotJejr Cijtromanttae. 
 
 Appendix A. Dactylomancy, or Finger-ring Magic, 
 Ancient, Mediaeval, and Modern, (pp. 34.) Presented 
 on October the 12th, 1883, by Bro. Ed. Heron-Allen. 
 
 Edition limited to 133 copies. 
 
 3. £1 Sjpres'ttinU ’3 fktsstflage. 
 
 Spoken by His Oddship W. M. Thompson, Fourth 
 President of the Sette of Odd Volumes, at the Freemasons’ 
 Tavern, Great Queen Street, at the Fifty-eighth Meeting 
 of the Sette, on December 7th, 1883. (pp. 15.) 
 
 Edition limited to 250 copies. 
 
 4. fin augural flliKresfS 
 
 of His Oddship Edward F. Wyman, Fifth President 
 of the Sette ot Odd Volumes, delivered at the Free¬ 
 masons’ Tavern, Great Queen Street, on his taking office, 
 on April 4th, 1884, &c. (pp. 56.) Presented to the Sette 
 by His Oddship Edward F. Wyman. 
 
 Edition limited to 133 copies. 
 
 5. fMusftcal EonUou a Cruturg !Hgo. 
 
 Compiled from the Raw Material, by Brother Burnham W. 
 Horner, F.R.S.L., F.R.Hist.S., Organist of the Sette of 
 Odd Volumes, delivered at the Freemasons’ Tavern, Great 
 Queen Street, on June 6th, 1884. (pp. 32.) Presented to 
 the Sette by His Oddship Edward F. Wyman. 
 
 Edition limited to 133 copies. 
 
Bibliography of Odd Volumes. 
 
 6. Clje ©nfimoljtil JficnatSSance; 
 
 Or, Fifty Years of English Art. By Bro. George C. 
 Hait£, Author of “ Plant Studies,'* &c. Delivered 
 at the Freemasons’ Tavern, Friday, July nth, 1884. 
 (pp. 40.) Presented to the Sette by His Oddship Edward 
 F. Wyman. Edition limited to 133 copies. 
 
 7. Clje iPrt^lja&s'pearian Sranta. 
 
 By Bro. Frank Ireson. Delivered at the Freemasons’ 
 Tavern, Friday, January 2, 1885. (pp. 34.) Presented 
 to the Sette by His Oddship Edward F. Wyman. 
 
 Edition limited to 133 copies. 
 
 8. Inaugural SlJtirrss 
 
 of His Oddship, Brother James Roberts Brown, Sixth 
 President of the Sette of Odd Volumes, delivered at the 
 Freemasons’ Tavern Great Queen Street, on his taking 
 office, on April 17th, 1885, &c. (pp. 56.) Presented to the 
 Sette by His Oddship James Roberts Brown. 
 
 Edition limited to 133 copies. 
 
 9. Catalogue of OTotfeS of flrt 
 
 Exhibited at the Freemasons’ Tavern, Great Queen Street, 
 on Friday, July nth, 1884. Lent by Members of the Sette 
 of Odd Volumes. Presented to the Sette by His Oddship 
 Edward F. Wyman. Edition limited to 255 copies. 
 
 10. Catalogue of fHanuScripteS anti IHarln- 
 
 iPrintetl JaoofiO 
 
 Exhibited and Described by Bro. B. Quaritch, the 
 Librarian of the Sette of Odd Volumes, at the Freemasons’ 
 Tavern, Great Queen Street, June 5th, 1885. Presented to 
 the Sette by His Oddship James Roberts Brown. 
 
 Edition limited to 255 copies. 
 
Bibliography of Odd Volumes. 
 
 ix. Catalogue of <©lb Organ fbluStc 
 
 Exhibited by Bro. Burnham W. Horner, F.R.S.L., 
 F.R.Hist.S., Organist of the Sette of Odd Volumes, at 
 the Freemasons’ Tavern, Great Queen Street, on Friday, 
 February 5th, 1886. Presented to the Sette by His 
 Oddship James Roberts Brown. 
 
 Edition limited to 133 copies. 
 
 12. Inaugural abbrtss 
 
 of His Oddship Bro. George Clulow, Seventh President 
 of the Sette of Odd Volumes, delivered at the Freemasons’ 
 Tavern, Great Queen Street, on his taking office, on April 
 2nd, 1886. &c. (pp. 64.) Presented to the Sette by His 
 Oddship George Clulow. Edition limited to 133 copies. 
 
 13. a dftlu jSotcs about arabs. 
 
 By Bro. Charles Holme, Pilgrim of the Sette of Odd 
 Volumes. Read at a Meeting of the “ Sette” at Willis’s 
 Rooms, on Friday, 7th May, 1886. (pp. 46.) Presented 
 to the Sette of Odd Volumes by Bro. Chas Holme. 
 
 Edition limited to 133 copies. 
 
 14. Account of tlje direat Hearneb i^oriettcs 
 anb associations, anb of tf)c Cijt'cf | 3 rinU 
 tng Clubs of ©reat Britain anb Irelanb 
 
 Delivered by Bro. Bernard Quaritch, Librarian of the 
 Sette of Odd Volumes, at Willis’s Rooms on Tuesday, 
 June 8, 1886. (pp. 66.) Presented to the Sette by His 
 Oddship George Clulow. 
 
 Edition limited to 255 copies. 
 
Bibliography of Odd Volumes. 
 
 15. JfUport of a ConberSa^tone 
 
 Given at Willis’s Rooms, King Street, St. James’s, on 
 Tuesday, June 8th, 1886, by His Oddship Bro. George 
 Clulow, President; with a summary of an Address on 
 “Learned Societies and Printing Clubs,” then de¬ 
 livered by Bro. Bernard Quaritch, Librarian. By 
 Bro. W. M. Thompson, H istoriographer. Presented to 
 the Sette by His Oddship George Clulow. 
 
 Edition limited to 255 copies. 
 
 16. Cotter C^tromanttae. 
 
 Appendix B .— A Discourse concerning Autographs and 
 their Significations.” Spoken in valediction at Willis’s 
 Rooms, on October the 8th, 1886, by Bro. Edward Heron- 
 Allen. (pp. 45.) Presented to the Sette by His Oddship 
 George Clulow. Edition limited to 133 copies. 
 
 17. Inaugural SHttrrflfJ 
 
 of His Oddship Alfred J. Davies, Eighth President of 
 the Sette of Odd Volumes, delivered at Willis’s Rooms, on 
 his taking office on April 4th, 1887. (pp. 64.) Presented to 
 the Sette by His Oddship Alfred J. Davies. 
 
 Edition limited to 133 copies. 
 
 18. Inaugural StoKreSsi 
 
 of His Oddship Bro. T. C. Venables, Ninth President of 
 the Sette of Odd Volumes, delivered at Willis’s Rooms, on 
 his taking Office on April 6th, 1888. (pp. 54.) Presented 
 to the Sette by His Oddship T. C. Venables. 
 
 Edition limited to 133 copies 
 
 19. SPapjuusS IftolLJ^rroll of f>c J?ette of 
 
 ©Kti 'FolumesS. 
 
 By Bro. J. Brodie-Innes, Master of the Rolls to the Sette 
 of Odd Volumes, delivered at Willis’s Rooms, May 4th, 
 1888. (pp. 39.) Presented to the Sette by His Oddship 
 T. C. Venables. Edition limited to 133 copies. 
 
 E 
 
« * » i t. «&> tit t $« tit 
 
 “ There is Divinity in Odd Numbers.”— Shakespeare. 
 
 4*: :4*:«K 4*: 4*: 4*: 4* 
 
 Edward Heron Allen, Necromancer (1883), 
 
 {Secretary, 1885), 
 
 St. John’s, Putney Hill, S.W. 
 
 Wilfrid Ball, Peintre-Graveur (1884), 
 
 39B, Old Bond Street, W. 
 
 James Roberts Brown, F.R.G.S . f A/ckymist (1879), 
 
 {Secretary, 1880; Vice-President, 1883; 
 President, 1885). 
 
 14, Hilldrop Road, Tufnell Park, N. 
 
 George Clulow, Xylographer { 1879), 
 
 {Secretary, 1881 ; Vice-President, 1884 ; 
 
 . President, 1886), 
 
 51, Belsize Avenue, Hampstead, N.W. 
 
 Alfred J. Davies, Attorney-General { 1878), 
 
 {Vice-President, 1881 ; Secretary, 1884 ; 
 President, 1887), 
 
 Fairlight, Uxbridge Road, Ealing, W. 
 
 Charles Leopold Eberhardt, Astrologer ( 1884), 
 
 Thuringia House, Fitzjohn Avenue, Hampstead, N.W. 
 
List of Members. 
 
 George Charles Hait£, F.L.S Art Critic (1883), 
 
 ( Vice-President , 1887), 
 
 Ormsby Lodge, The Avenue, Bedford Park, W. 
 
 Burnham W. Horner, Organist (1880), 
 
 34, Sheen Park, Richmond, S.W. 
 
 Daniel W. Kettle, F.R.G.S., Cosmographer 
 (1884), 
 
 [Secretary , 1886), 
 
 Hayes Common, near Beckenham, Kent. 
 
 Henry George Liley, Art Director (1883), 
 
 Radnor House, Radnor Place, Hyde Park, W. 
 
 William Murrell, M.D., Leech (1882), 
 
 ( Secretary , 1883 ; Vice-President , 1885), 
 
 38, Weymouth Street, Portland Place, W. 
 
 Bernard Quaritch, Librarian (1878), 
 
 {President, 1878, 1879, 1882), 
 
 15, Piccadilly, W. 
 
 Edward Renton, Herald (1878), 
 
 ( Vice-President , 1880; Secretary , 1882), 
 
 44, South Hill Park, Hampstead, N.W. 
 
 H. J. Gordon Ross, Solicitor-General (1884), 
 
 18, Victoria Road, Kensington, W. 
 
 W. Mort Thompson, Historiographer (1878), 
 {Vice-President, 1882; President , 1883), 
 
 16, Carlyle Square, Chelsea, S.W. 
 
 G. R. Tyler (Alderman), Stationer (1878), 
 {Vice-President, 1886), 
 
 17, Penywern Road, South Kensington, W. 
 
 T. C. Venables, Antiquary (1879), 
 ifkesitiettt, 
 
 9, Marlborough Place, St. John’s Wood, N.W. 
 
List of Members . 
 
 Edward Walford, M.A., Rhymer { 1885), 
 
 7, Hyde Park Mansions, N.W. 
 
 Charles Welsh, Chapman (1884), 
 
 Leytonstone, Essex. 
 
 Charles W. H. Wyman, Typographer (1878), 
 
 ( Vice-President , 1878 1879 ; President , 1880), 
 
 103, King Henry’s Road, Primrose Hill, N.W. 
 
 Edward F. Wyman, Treasurer (1878), 
 
 (, Secretary , 1878 dr 5 1879 ; President , 1884), 
 
 19, Blomfield Road, Maida Vale, W. 
 
 Supplemental ©till Volumes. 
 
 Charles Holme, F.L.S., Pilgrim (1886), 
 
 {Secretary, 1887), 
 
 Hillside, Hampstead Hill Gardens, N.W. 
 
 Fredk. H. Gervis, M.R.C.S., Apothecary (1886), 
 
 1, Fellows Road, Haverstock Hill, N.W. 
 
 John W. Brodie-Innes, Master of the Rolls (1887), 
 
 <Semtarg, 
 
 Milton House, The Orchard, Bedford Park, W. 
 
 Henry Moore, A.R.A., Ancient Mariner (1887), 
 Collingham, Maresfield Gardens, N.W. 
 
 Sir James D. Linton, P.R.I., Limner (1887), 
 
 Ettrick House, Steele’s Road, Haverstock Hill, N.W. 
 
 Alfred H. Littleton, Troubadour { 1887), 
 Dunedin, The Avenue, Sydenham. 
 
List of Members. 
 
 E. P. Loftus Brock, F.S.A., F.R.I.B.A., 
 Architect (1887), 
 
 36, Great Russell Street, W.C. 
 
 James Orrock, R.I., Connoisseur (1887), 
 
 48, Bedford Square, W.C. 
 
 W. J. Goode, Potter (1887), 
 
 Tudor House, Hampstead Heath, N.W. 
 
 Hermann Vezin, Poor Player (1888), 
 
 10, Lancaster Place, Strand, W.C. 
 
 Alfred East, R.I., Aquarelliste (1888), 
 
 14, Adamson Road, Belsize Park, N.W. 
 
 Walter Hamilton, F.R.G.S., and F.R.H.S., 
 Parodist (1888), 
 
 57, Gauden Road, Clapham, S.W. 
 
 Douglas Gordon, Reme 7 nbrancer> 
 
 41, Tedworth Square, S.W. 
 
 John Lane, Auditor (1888), 
 
 37, Southwick Street, Hyde Park, W. 
 
 Alexander T. Hollingsworth, Artificer (1888), 
 
 172, Sutherland Avenue, Maida Vale, W. 
 
 John Todhunter, M.D., Bard (1888), 
 
 Orchard Croft, The Orchard, Bedford Park, W. 
 
 

/ . 
 
 I 
 
 
 
 
.• > 
 
 * :•