‘In this manner I proceeded to Paris, with no design but just to look about me, and then to go forward. The people of Paris are much fonder of strangers that have money, than of those that have wit. As I could not boast much of either, I was no great favourite. After walking about the town four or five days, and seeing the outsides of the best houses, I was preparing to leave this retreat of venal hospitality, when passing through one of the principal streets, whom should I meet but our cousin, to whom you first recommended me. This meeting was very agreeable to me, and I believe not displeasing to him. He enquired into the nature of my journey to Paris, and informed me of his own business there, which was to collect pictures, medals, intaglios, and antiques of all kinds, for a gentleman in London, who had just stept into taste and a large fortune. I was the more surprised at seeing our cousin pitched upon for this office, as he himself had often assured me he knew nothing of the matter. Upon my asking how he had been taught the art of a connoscento so very suddenly, he assured me that nothing was more easy. The whole secret consisted in a strict adherence to two rules: the one always to observe, that the picture might have been better if the painter had taken more pains; and the other, to praise the works of Pietro Perugino. But, says he, as I once taught you how to be an author in London, I’ll now undertake to instruct you in the art of picture buying at Paris.
‘With this proposal I very readily closed, as it was a living, and now all my ambition was to live. I went therefore to his lodgings, improved my dress by his assistance, and after some time, accompanied him to auctions of pictures, where the English gentry were expected to be purchasers. I was not a little surprised at his intimacy with people of the best fashion, who referred themselves to his judgment upon every picture or medal, as to an unerring standard of taste. He made very good use of my assistance upon these occasions; for when asked his opinion, he would gravely take me aside, and ask mine, shrug, look wise, return, and assure the company, that he could give no opinion upon an affair of so much importance. Yet there was sometimes an occasion for a more supported assurance. I remember to have seen him, after giving his opinion that the colouring of a picture was not mellow enough, very deliberately take a brush with brown varnish, that was accidentally lying by, and rub it over the piece with great composure before all the company, and then ask if he had not improved the tints.
Oliver Goldsmith, 1730 – 1774. The Vicar of Wakefield, 1766. Written in 1761 and 1762, and published in 1766. Chapter 20. The history of a philosophic vagabond, pursuing novelty, but losing content
Image: Thomas Rowlandson, 1756-1827. A Connoisseur, 1817. The Vicar of Wakefield, A Tale by Doctor Goldsmith. Illustrated with twenty four designs by Thomas Rowlandson. Published by R. Ackermann, London, 1817