Summary

E. T. Raymond Portraits of the Nineties

Chamberlain was no doubt a marvel of demagogic art. He could say supremely well what the average man felt a difficulty in putting into words. He was intensely sensitive to changes in public feeling, and extraordinarily clever in just anticipating them. He had a great knack of condensing into one sharp and memorable phrase the idea he wanted to sink deep into the public mind. But he was not an orator in the sense that John Bright was, and he lacked the capacity of Lord Randolph Churchill, in his best days, of whipping a popular audience into yelling, laughing, almost hysterical sympathy.
Source: Gutenberg

E. T. Raymond Portraits of the Nineties

It was, probably, this massive seriousness—deriving from his intense sense of the eternal—that was the secret of Mr. Gladstone’s power over nearly all who came into close touch with him. It is not quite true that he altogether lacked a sense of humour. In a certain vein he could be playful and even jocose, and, though he was generally wanting in the compression which belongs to true wit, witty things occasionally escaped him. But all this was by the way, as incidental as the play of sunlight on a rock or the laughter on the surface of the deep sea
Source: Gutenberg

E. T. Raymond Portraits of the Nineties

Leighton died long before he had become old-fashioned. It was Watts’s fate to linger in a world of which he could not possibly have approved. The recluse of Limnerslease—the very name smacks eloquently of the Victorian mood—seemed to those who caught a glimpse of him like some stern old Puritan brooding in retirement over the jiggings and Jezebelisms of the Restoration. The nineteenth-century seriousness which Leighton had, but could put on and off like a garment, was the very soul of Watts; he was probably the most serious painter who ever lived.
Source: Gutenberg

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