In the Salon in 1887, and in 1888 at Earl's Court, was a painting of life size, rewarded with the prix d'honneur: it represented the interior of an Indian hut; the head of the family, just returned from his labours in the field, was in the foreground looking with horror upon the scene that lay in front of him; in the centre of the canvas were gorged tigers, with the mangled remains of the mother and children strewn about the floor. Other works appear in each exhibition of equally brutal subjects, and without even the inventiveness of this composition. Realistic sculpture moreover is produced, of a kind to convince the spectator that humanity has truly descended from the brutes.
In 1889 or 1890 there was a group, more than full size, of a gorilla carrying away under his left arm a woman whom he had captured. This delectable production was also distinguished by the prix d'honneur, and it was while on exhibition surrounded each day by groups of all classes of people.
It would be impossible that such examples of work in the name of Art should not have a mischievous effect upon those students who, without natural strength of mind and taste, are unable to resist the arguments coming from the admiration of a noisy circle; and accordingly, our own school is in a state of overwhelming confusion, most injurious to such as work modestly and with sweet inspiration. No one can doubt that it is our duty fearlessly to denounce this false taste.
Owing to the distinction of the post that I have been permitted to occupy, my words will remain on record, and my course will be judged by Time.
