He may be, on some occasions; but, when overshadowed by this dark and enormous growth of conspiracy, Tattlesnivel knows him to be otherwise. "I happen to be certain, deriving my information from a source which cannot be doubted to be authentic," wrote the London Correspondent of the Bleater, within the last year, "that Lord John Russell bitterly regrets having made that explicit speech of last Monday." These are not roundabout phrases; these are plain words. What does Lord John Russell (apparently by accident), within eight-and-forty hours after their diffusion over the civilised globe? Rises in his place in Parliament, and unblushingly declares that if the occasion could arise five hundred times, for his making that very speech, he would make it five hundred times! Is there no conspiracy here? And is this combination against one who would be always right if he were not proved always wrong, to be endured in a country that boasts of its freedom and its fairness?
But, the Tattlesnivellian who now raises his voice against intolerable oppression, may be told that, after all, this is a political conspiracy. He may be told, forsooth, that Mr. Disraeli′s being in it, that Lord Derby′s being in it, that Mr. Bright′s being in it, that every Home, Foreign, and Colonial Secretary′s being in it, that every ministry′s and every opposition′s being in it, are but proofs that men will do in politics what they would do in nothing else. Is this the plea? If so, the rejoinder is, that the mighty conspiracy includes the whole circle of Artists of all kinds, and comprehends all degrees of men, down to the worst criminal and the hangman who ends his career. For, all these are intimately known to the London Correspondent of the Tattlesnivel Bleater, and all these deceive him.
Sir, put it to the proof. There is the Bleater on the file— documentary evidence. Weeks, months, before the Exhibition of the Royal Academy, the Bleater′s London Correspondent knows the subjects of all the leading pictures, knows what the painters first meant to do, knows what they afterwards substituted for what they first meant to do, knows what they ought to do and won′t do, knows what they ought not to do and will do, knows to a letter from whom they have commissions, knows to a shilling how much they are to be paid. Now, no sooner is each studio clear of the remarkable man to whom each studio-occupant has revealed himself as he does not reveal himself to his nearest and dearest bosom friend, than conspiracy and fraud begin. Alfred the Great becomes the Fairy Queen; Moses viewing the Promised Land, turns out to be Moses going to the Fair; Portrait of His Grace the Archbishop of Canterbury, is transformed, as if by irreverent enchantment of the dissenting interest, into A Favourite Terrier, or Cattle Grazing; and the most extraordinary work of art in the list described by the Bleater, is coolly sponged out altogether, and asserted never to have had existence at all, even in the most shadow thoughts of its executant! This is vile enough, but this is not all. Picture-buyers then come forth from their secret positions, and creep into their places in the assassin-multitude of conspirators. Mr. Baring, after expressly telling the Bleater′s London Correspondent that he had bought No.
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