I well remember, and it is often a source of infinite enjoyment to me to recall, many a trifling incident connected with the name of Robert Browning. He was the kindest and most indulgent of friends, and, as such, I remember him with gratitude and devotion; and he was the most honourable and lovable of men, and so it was but natural I should honour and love him.

What I can record about him is mostly of a personal character, and I only trust that, if any member of a Browning Society happens to come across these pages, he will not resent my inability to add more than a few descriptive touches to what is already known of the poet.

He was well aware that I had never really studied his works, in fact that I had only read a small portion of them; but he made allowances for that, as for my other shortcomings. He also knew that when, by dint of perseverance, I did master some difficult pages of his writing, none could more warmly appreciate the subtle beauties they contained than his humble friend.

"Last night I read Bishop Blougram," I told him on one occasion. "I went as far below the surface as I could get, but I need not tell you I did not reach the bottom."

"Try again," was all he answered; and when I asked who had been his models, he said that Cardinal Wiseman was his Bishop, and that Gigadibs was not sketched from any one particular person. The Cardinal, he told me, had himself reviewed the poem favourably.

I first met Browning at my cousins the Bensons. They occupied one of those unique houses in that finest of avenues, Kensington Palace Gardens. Notwithstanding the name, the houses really have gardens, and command an unlimited view over the grounds which extend from Kensington to Hyde Park. Inside the hospitable mansion all that was best in the world of art and literature would assemble, and men and women of note felt so much at home there, that they would just lay down their laurel wreaths and wipe off their war-paint, before they came in, and move about as if they were ordinary mortals. They ate and drank too, as if anxious to show their appreciation of Mrs. Benson\'s table; she certainly made a point of placing the best of nectar and ambrosia before the gods, her guests. And the chef saw to it, that the menus should be worded with due regard to historical truth. I recollect one occasion when he had introduced "Cotelettes à la Charles Dickens" on the programme.

"You had better change that," said Mrs. Benson, "and put \'à la Thackeray\'; he is dining with us to-night."

"Oh, madam," protested the chef, "surely you don\'t mean that; everybody would at once recognise them as \'Cotelettes à la Dickens.\'"

Dinner was usually followed by the most perfect music, for the gods loved to play to one another, and it needed no pressure to induce a Joachim to open his violin-case, or to lead the pianist of the day straight to the piano. But on one occasion, I forget why, there was some difficulty with Madame Schumann; she had certainly not taken one or two broad hints to the effect that she was wanted. I was, to be sure erroneously, supposed to be devoid of all shyness, and was therefore deputed to get her to the piano. I had known her years ago when, as a girl, she came to Leipsic with her father, and I remember exchanging knowing winks with my sisters behind old Wieck\'s back, when he held forth about his unique and incomparable method of teaching, as exemplified in his daughters Clara and Marie. He had a queer way of putting it, but he was certainly not far wrong in his estimate of the method and its results.

When I asked Madame Schumann whether she was inclined to play, I was very badly received. She was "particularly disinclined," so I changed the conversation. But presently—quite by chance to be sure—I mentioned her husband\'s "Carnaval." "There is one part," I said, "which I particularly love: the \'March of the Davidsbündler,\' you know. If I could only hear you play just that page or two!"

"Page or two indeed," she said, boiling over with indignation. "Wenn man den Carnaval spielt, spielt man ihn ganz!" (If you play the "Carnival," you play it from beginning to end.)

And an instant afterwards she was at the piano, throwing her whole soul into that wonderful piece of tone-painting.

Elizabeth Benson was one of the many gifted members of the Lehmann family; the two eminent painters Henri and Rudolf Lehmann were her brothers; so too Frederick, her husband\'s partner in the well-known firm of ironmasters, Naylor, Vickers & Co. And he, Mr. Benson, was a shrewd German-American who had amassed a fortune in business and lived in perfect style. Being a man of culture and refined tastes, he had a remarkably well selected library and had surrounded himself with many choice works of art.

Browning\'s son—he had but one child—was also a welcome guest at 10 Kensington Palace Gardens. He was equally gifted as a musician and as a painter, so much so, that for a time he seemed inclined to sit down between two stools and await events. This caused his father some anxiety, and it was evidently with a feeling of relief, that he came to tell me one day, that Pen had got up and made his choice of stools in favour of the one marked Painting. The decision was due to Millais. Pen had accompanied him on a visit to Scotland, and whilst Millais was painting his picture of "Scotch Firs," his young friend made a study of the same subject, which gave evidence of so much talent that Millais unhesitatingly advised him to devote himself to art. When Browning came to tell me of the very satisfactory incident, he asked my advice as to the best opportunity for study open to him. In those days, very different from the days we can boast of now, the best advice to give was that he should go abroad. I suggested Antwerp, and further recommended my friend Heyermans as the best teacher I knew. My advice was taken, and it led to so excellent a result that Browning never tired of expressing his gratitude to me for having found the right man and having put his son in the right place. Under the guidance of that right man Pen made rapid progress and soon produced very striking work.

When he began to exhibit, no father could be more anxious about a son\'s reputation or prouder of his successes, than was Browning. Praise such as came from the lips or pens of Leighton, Millais, and other friends, warmed his heart, confirming, as it did, his belief in Pen\'s powers. He could be very sensitive too, when full justice was not done to that son, as when his statue of Driope was refused at the Royal Academy. Young Browning, not content with using the brush to give shape to his artistic conceptions, had taken to the sculptor\'s tools. These he had learned to handle when, after a prolonged stay in Antwerp, he went to Paris and studied sculpture under Rodin, an advantage of which to this day he is particularly proud. This life-size figure of Driope was the outcome of much study and thought, and had been so warmly appreciated on all sides, that it was deemed worthy of being cast in bronze. When it was rejected at the Royal Academy, Browning was indignant, eloquently indignant, and well he might be, for the work was a remarkable one, and as it now stands in the vast Entrance Hall of the Palazzo Rezzonico, many think as I do, that it can challenge comparison with some of the great masterpieces in Venice.

I need scarcely say that the adverse verdict of the rulers at Burlington House did not shake his confidence in Pen or in his first teacher. The poet\'s gratitude to the latter was expressed in ever-varying forms. He writes to him: "I have to repeat—what I never can be tired of repeating, however inadequately I make my words correspond with my feelings—how deeply grateful I am to you for your instrumentality in the success of my son, which I am sure he will have attributed to the admirable master whose true \'son\' in art he is bound to consider himself." When, some years later, Heyermans settled in London, Browning never lost an opportunity of smoothing the artist\'s path among strangers, in the country which has since become the country of his adoption.

As I may presently allow myself to speak of some of my pictures which Browning liked, it may not be inappropriate to record here that there were others which he disliked. Such were some Japanese subjects, which my love of the newly imported art had impelled me to paint. At the time I am speaking of—in the early seventies—the work of the Japanese was only just coming to the front; there was no shop to display it in all London or Paris. The first things of the kind I can remember here were some of those cheap paper fans on sale at a very popular little shop in the Brompton Road, Harrod\'s, now developed into one of London\'s monster emporiums. In Holland I had previously come across some wonderful specimens of Japanese painting and weaving, and when I next saw a unique collection of such work in the Paris Exhibition, my admiration was fairly kindled into enthusiasm. Shortly afterwards the same exhibits found their way into the hands of those syrens with the ivory hammer, known as Christie & Manson\'s, and on that occasion my savings found their way into the same hands. I was equally fascinated by Japanese art at Farmer & Rogers\', where I soon made friends with one of their staff, a promising young connoisseur, Mr. Liberty, the same who now rules supreme in Regent Street.

Now Browning worshipped—I thought rather exclusively—at the shrine of old Italian art, and I do not think he ever really appreciated the Japanese. Certain it is that he disliked the pictures I painted when my Japano-mania was at its height; notably one entitled "On the Banks of the Kanagawa," which he condemned, perhaps not without good reason, for I had never been on the banks of that or any other Jap river, and my figures, although clad in the beautiful dresses I had bought, were more or less evolved from my inner consciousness. In fact I would not hesitate to say that the picture was bad, were I not afraid of being thought wanting in respect to the august body of Royal Academicians, who gave it a very excellent place on their walls. As their judgment is known to be infallible, Browning, for once in the way, must have been labouring under a misconception.

If so, he but too generously made up for it in later years when, on many occasions, he showed the greatest interest in my work. He became a frequent visitor at the studio, and the hours he spent with me are amongst the happiest in my artistic experience. To him it was a never-failing source of pleasure to visit his artist friends, and with more than one of them did he make himself thoroughly at home. He had the gift of putting everybody at his ease, sometimes exchanging a few pleasant words with the servant who came to answer the door, sometimes chatting with the models; he was quite unconventional, and would just as soon say, "He don\'t" as "He doesn\'t." A great friend of his was Jack Turner, a charming specimen of the London waif, a perfect little angel in his tenth year, but an angel, as it unfortunately proved, with a stumble and a fall, in consequence of which he had to do his growing up in a reformatory, and who asks for the price of a glass of beer when I meet him now. "Good morning, Mr. Browning." "Thank you, Mr. Browning," the little angel would say, for he had quickly realised that the name had a good sound, and the poet would stroke his curly hair and press the price of an ounce of sweets into his innocent little hand.

Then there was Laura, a model, who had one of the most sculptural figures I have ever seen. She had come to me in the regular course of business to get work, accompanied by another young girl; her features were not regular, but mobile and expressive, her eyes restless, and her hair rebellious as it hung in brown wavelets over her forehead. Her friend was a contrast—the regular blue-eyed maiden, fair-haired and fair-skinned. I took their names and addresses, putting them down as head models, for, in answer to my question whether they sat for the figure, Laura had replied, "No; certainly not." It was the close of the season, and I had much work to finish before I could leave town. I told my visitors so, and returned to my easel, but they were evidently disinclined to go; they looked around as if fascinated by the artistic surroundings, and after a whispered consultation, they hinted, carefully veiling their words, that they had no insuperable objection to unveiling. It was evident that they were fired with lofty ambitions of "the altogether" kind. (Immortal creation of my friend Du Maurier, that word, the altogether, which lulls suspicion and alarm in the breast of the Philistine, and checks the blush that would rise to the cheek of the British matron.) I bluntly told my would-be models that I was working against time, and that for some months to come I should not be able to use them, whether in sections or as a whole. But they were not to be dissuaded, once having made up their minds to qualify for the altogether.

Befittingly coy and shy, Laura\'s friend emerged from the dressing-room, the type of the English maiden, the rosebud of sweet seventeen. The milk of human beauty flowed in her veins, tinting her with creamy whites from head to foot; one only wanted some dove-coloured greys to model her forms, till at the extremities one would put in a few touches of pink madder or of Laque de garance rose dorée. It is a beautiful little type, "rosed from top to toe in flush of youth." Greuze could paint it, and others too; but whenever I attempted it, I have found that I was not good at rendering the girlish forms and the strawberry-and-cream colour.

Very different was Laura. She came into the room as if to the manner born, freely and easily. She had seemed rather short of stature and awkward in her movements. Now she was tall and graceful, and so sculptural in form that at first you would scarcely notice her colour. You could not render her dull bronze-like tints without mixing your light-reds with cobalt blue or with real ultramarine at a guinea an ounce, if you could afford it.

I did not break out into Pygmalionic enthusiasm, but I felt that I must leave all else and study the line that started from the neck, and went straight down to the heel, unimpeded by petty details or any of those non-essentials which just mark the difference between the real in Nature and the ideal in Art. The next day I began a picture of her which has since found its way to America. My friend Legros chancing to look in when she was sitting, so warmly appreciated her that I invited him to come and make studies from her at my studio occasionally; of those I have a very beautiful one drawn for his bas-relief "La Fontaine," which many will remember having seen at one of the early exhibitions in the Grosvenor Gallery.

Couldn\'t Browning be indignant when the British matron presumed to misinterpret the artist\'s glow of enthusiasm! Doubly indignant, when the matron took the shape of a patron or the title of a Royal Academician with a vote on the Council of selection, or a hand on the Hanging Committee.

"The impropriety lies in the objection," he would say, "and I have put what I think of it in my Furini."[17]

Browning had a marked predilection for a certain chair in my studio. It is a cross-breed between what the French call a crapaud and we an easy-chair. In this he was installed one afternoon, when Laura was perched on the model-table, artificially supported, as best she could be, to give me a flying position. I was at work on one of two companion pictures which, for want of a better title, I had called "The Cloud-Compeller" and "The Cloud-Dispeller." In the first a deep-toned figure gathers the rolling clouds together; in the second, a brighter child of the skies peeps out from behind them.

"You might take some lines from Shelley\'s \'Cloud\' for those pictures," suggested Browning.

"Yes—Shelley\'s Cloud," I answered. "To be sure—Let me see—Oh yes, it is one of those beautiful poems I know, but can\'t remember."

"Oh," he began, leaning back in the easy-chair—"Don\'t you remember?
"\'I bring fresh showers for the thirsting flowers
From the seas and the streams;
  I bring light shades——\'"

And once started, he recited the whole poem. Recited is scarcely the word. He simply told us all about "The daughter of the earth and the nursling of the sky," and he conjured up, with the slightest of emphasis, pictures of "the whirlwinds unfurled, the stars that reel and swim," and
"That orbed maiden with white fire laden
Whom mortals call the moon."

I went on painting—and listened. Laura kept on flying—and listened. She was an educated girl, and knew as well as I did that we might consider ourselves privileged listeners.

Laura had had quite a long spell of work, considering that the office of a cloud-compeller is not a sinecure, and she was well entitled to a rest. Browning said something to that effect as he rose to go, and, adding that she was a brave and conscientious model, he slipped half-a-crown into her hand. When I laid down my palette to go to the door with him, the usual little word-squabble had to be gone through. No argument of mine would ever persuade him that I had a right to see him to the door, but I often did so, heedless of his protest. On the other hand, no argument of his could ever persuade me that he was justified in seeing me to his door, but he always managed to do so, whether I was persuaded or not. He had stairs to go down and up again; I had not, so it was most unfair, but that was Browning all over—always afraid to give trouble, ever ready to take it.

When I got back to the studio, a new picture met my eye. I found Laura giving vent to her feelings in a wild dance of jubilation, the half-crown sparkling above her head as she held it up triumphantly with both hands, whilst clusters of brown hair which had been carefully pinned up out of the way, for I was painting her back, now cascaded over her shoulders and down to her waist, suggesting new and original shapes for fashionable capes or opera-cloaks. When Nature\'s mantle had once more been pinned up and a drapery substituted for it, she settled down in the chair the master had just vacated, and proceeded to discuss the grave question as to what should be done with the half-crown. She scorned my suggestion that she should spend it on a pair of gloves, and then and there decided to have it made into a brooch as a memento of the memorable afternoon.

The next day I received a letter from Browning indicating the particular passages from Shelley\'s poem which he thought would be suitable to my pictures.

That Laura was a queer girl; it was not till months after her first visit to me that I chanced to find out she was a good pianist and had a pretty voice, and only when she had got quite acclimatised in the studio did I elicit the truth about that first visit. She had always put me off with the evasive answer that "a friend" had given her my address, but at last she confided to me that there was no friend in the case.

"We were walking down Sloane Street," she said, "Amy Stewart and I, when we saw your board up with \'The Studio, Cadogan Gardens\' on it. Your dog was at the gate wagging his tail, and seemed like asking us in. I patted him, and said to Amy, \'Let\'s go in for a lark and say we are models.\' And she said, \'Yes; you go first.\' So we rang the bell and asked for the artist. You said you were busy and hadn\'t much time to look at us, and you didn\'t seem to want us—so we stopped." Her father, I then found out, was a well-to-do builder, much absorbed in his business. No, she said, in answer to my question, he was not aware that she was sitting; her mother was, but had never asked for particulars. Let well alone, I thought, anxious as I was not to lose my model. But not long afterwards I was much startled by Laura\'s announcement that the sittings must henceforth be given up. She was very sorry, but she was forbidden to come any more.

"What has happened?" I asked in dismay; "your father? your mother?" "Oh no." "Well, do have it out; nobody else surely has a right to interfere." "Well, yes," she said; "Father O\'Brien has." I saw it all; she was a good Roman Catholic, and her father confessor had become alarmed, and had put in his veto. "Is that all?" I broke in, much relieved. "Well, Laura, you did startle me—thank goodness, it is only a priest; he of all people couldn\'t have meant it seriously. He wouldn\'t be so ungrateful after all we artists have done for the Church. Think of the old masters, Laura; you must go to Father O\'Brien and remind him of Raphael and all the saints and Madonnas he painted. Why, to be sure, he must know that even the divine Raphael could not have given us their souls without their bodies, and that even he would never have draped his models till he had made a careful study of those respected bodies. Oh no, there is nothing to be feared from a good priest; you must go at once, Laura, and speak to him."

Whether she went or not, and whether, having duly weighed my argument, Father O\'Brien was struck with remorse, I do not know, but certain it is that Laura came, sat, and helped me conquer the difficulties yet to be grappled with in two pictures I had begun from her.

I was travelling from the sunny South back to the cheerless North. It was in January, and I was returning from Italy, where I had spent some months, to my own home and hearth; back to the chimney that I knew would smoke, to the pipes that would probably burst, and the blacks that would certainly fly. Serpentining along the coast of the Riviera, I awoke in the early morning and peeped through the window just by my side in the sleeping-car. Farewell to the sea and to the sparkle on the playful little waves that were gently breaking against the shrub-covered rocks; farewell to the middle distance and to the distance, and generally to anything worthy to be termed a horizon. Presently all that will be replaced by somebody\'s stone wall opposite my own stone wall, or by a growler or a Piccadilly lamp-post in a fog. And I shall wear a thick overcoat out of doors, and sit peacefully installed at my own writing-table in-doors. And the organ-grinder will come to grind under my windows, and to remind me of the country I love so well—and he will keep on grinding till it is time to get up and conduct him to the nearest police-station.

Then, too, I shall meet my friends, and they will ask me where I have been, and tell me where they have been; and, one and all, they will want to know what I am painting for the Royal Academy, and not have the slightest notion how insulting the question is, particularly if—il n\'y a que la vérité qui blesse—I have been painting for the Royal Academy.

That is what I was thinking as we popped into tunnels and out again into the bright sunshine. Then—I don\'t know whether I fell asleep or whether I kept awake—but I certainly dreamt the most beautiful pictures ever painted. I could not put them on canvas to save my life, any more than I could put them on paper; but there they were, just across borderland, and I saw them with my own eyes, and not as one usually sees them, cramped by ugly gold mouldings at so much a foot.

There was one creature of extraordinary beauty—a goddess she must have been—with tresses of molten gold; she had got into a big shell which I had bought in Naples (they call it terebra), and, stretching herself full length in it, she had fallen asleep. Then other shells I had left behind in those stalls that line Santa Lucia came up from the deep, and a little lithe-limbed urchin—I felt sure I had seen him before—ensconced himself in one of them as in an arm-chair; and next—such are dreams—two darling little nieces of mine came toddling along from Tedworth Square, S.W. London, stark naked, and straightway condensed themselves into one meditative water-baby, that loved the shells as I did, and cuddled them as I couldn\'t.

Dreams to be sure—fancies, mocking visions of beauty, not to be realised, I know it well, but to the artist life would not be worth living if it were not for the glorious excitement of hunting the will-o\'-the-wisp.

So I began what I called the shell-picture shortly after my return to London. Browning was in sympathy with my subject, and often came when I was tackling it. In the afternoons he was a man of leisure, his mornings being devoted to his own work, which he would take up when he had read the Times and answered his letters. After luncheon he very rarely returned to his study. He would go out about two o\'clock, perhaps to walk down to the Athen?um Club, where on Saturdays he was to be seen very regularly, reading the weekly papers, or he would visit his friends. Amongst those his artist friends were the most favoured, and more than one of them, I am sure, would be better qualified than I am to fill a chapter of reminiscences, headed "Browning at the Studio." He himself often speaks in his letters of the pleasure it gives him to associate with them.

"I scribble this," he writes on one occasion, "in case I should be unable to look in to-morrow afternoon—as I will, if I can, however: always enjoying, as I do, the sight of creation by another process than that of the head, with only pen and paper to help. How expeditiously the brush works!"

And another time he says—

"As for the visits to your studio, be assured they are truly a delight to me, for the old aspirations come thickly back to memory when I see you at work as—who knows but I myself might have worked once? Only it was not to be; but these are consolations—seeing that I am anyhow

"Yours sympathisingly,

"Robert Browning."

The aspirations he speaks of he had in former years sought to satisfy. When living in Florence he had arranged the large corner room on the first floor of the Casa Guidi as a studio. There he used to make life-size drawings of the human figure from casts, working on a specially prepared canvas, which enabled him to rub out his studies and to replace them by others. He never painted; form had more attraction for him than colour. When in Rome he worked several hours daily in Storey\'s studio, and when he returned to England he intended taking up modelling seriously. He did indeed begin in Warwick Crescent, but he eventually abandoned the attempt, carried away by mightier impulses. The regret that he had not been able to cultivate his taste for the plastic art, would however often find expression in words.

What he might have done as an artist is a matter of speculation, but he certainly made a most obliging and excellent sitter, as I can vouch for, having been one of those who had the privilege of painting him. He sat for me in 1884, and my portrait has found a permanent place in the Armour Institute in Chicago.

As my shell-picture advanced, I became ambitious to find a better name than the one I had given it temporarily, and as usual Browning was consulted. Isaac Henderson, the novelist of "Agatha Page" fame, happened to be at the Studio, and between them the matter was at first facetiously discussed. On this occasion my name had the proud distinction of drawing from Browning the only pun I ever heard him make. "Why not call it more shells by Moschels?" he said.

Later on he quoted various passages from poems that seemed to fit my subject, but he felt himself that they were only partially suited to it. In the evening, recalling our conversation, I wrote to him that, knowing as I did exactly what I was trying to express on canvas, I felt sure it would be difficult to find lines quite adaptable to my meaning. "Why not," I asked, "in default of a real poet, sign an imaginary name, Grelice di Napoli, for instance?" Grelice was meant for an Italian version of the name which I had composed when I first met the Gre-te who was to link her name to that of Fe-lix. The pseudonym was adopted, and we are best known to our friends in every part of the world as "The Grelix."

I suggested then that Grelice di Napoli should have said something of this kind:—

"And as I walked along those lovely shores, and breathed the air of balmy climes, I waking dreamt of living forms that wedded opalescent shells; of peace, and rest, and blissful harmonies."

I was at work the next day when the post brought Browning\'s answer, and as I read it I broke into a hearty fit of laughter. He had written five lines of poetry, and signed them: Felix Moscheles. They ran thus:—
"And as I wandered by the happy shores
And breathed the sunset air of balmy climes,
I waking dreamt of some transcendent shape,
A woman\'s—framed by opalescent shells,
Peacefully lulled by Nature\'s harmonies."

A day or two later he came to bring me another version which, he explained, he thought I should "like better." This was adopted, and the picture was christened, "The Isle\'s Enchantress," and described by the following lines:—
"Wind-wafted from the sunset, o\'er the swell
Of summer\'s slumb\'rous sea, herself asleep,
Came shoreward, in her iridescent shell
Cradled, the isle\'s enchantress.

The day was approaching when, with other work, I was to show that "Isle\'s Enchantress." Picture show-day they call it. Soft-soap day would be more correct, for every artist expects his friends to give him as much of flattery as they can find it in their consciences to give. And as a rule consciences are elastic; a little encouragement from the artist goes a long way, and, once he satisfies his friends that he is of an unsuspecting nature, they will lay it on thick in the pleasantest of ways.

To be sure the day brings its little trials too, but of those another time.

It had occurred to me that some of the friends I had invited to meet my Enchantress, might like to have a copy of Browning\'s lines; so I went round one evening to 29 De Vere Gardens to ask whether he had any objection to their being printed.

"None whatever," he said, in answer to my question.

I thanked him and added, "To be sure I want to put your name to them."

"Oh, you can\'t do that," he said; "they are not mine, they are yours."

"Mine! Why, you know, I couldn\'t write verse to save my life."

"Ah, but you did; you sent me the substance and put it into blank verse."

"Blank verse!"—Blank was my astonishment, and I felt like the man in Molière when he was told he had been speaking prose all his life.

Well, we sat by the fireside in that drawing-room of his and discussed the matter, and he would have it that I was the author and that he had only put my idea into shape.

"If I had suggested alterations in your picture," he said, "or if I had advised you to introduce a coral-reef here and a dolphin there, would that have justified me in signing your picture?"

"No, perhaps not," I agreed, "but if you had laid on the last coat of paint, the one the public was to see, you certainly could have done so."

And so the skirmishing went on with varying fortunes, till, by some happy fluke, I hit upon an argument which settled the matter in my favour.

"Well," I said, "I can\'t give you a reason for it—in fact I have never been able to understand why it is so—but it is an undeniable fact that the public will make a marked difference between your style and mine, and if your version is to be adopted, it must stand in your name."

"Very well, then," he said, "have it your own way. I am sure you are welcome to anything I can do for you."

"Truly kind you are, and truly grateful am I, and plucky too I beg you to believe, for I don\'t care a pin if people do say: \'There goes Moscheles hanging on to the tail of Pegasus!\'"

I meant it then, and I mean it to-day. You may laugh if you like, but I have the best of it; it isn\'t everybody who can boast of having written five lines of poetry together with Robert Browning.

The picture I have now. It just fits a recess in my dining-room, measuring about five feet by seven. I daily sit opposite it at meals, and when I watch the golden rays of the sun as they come pouring through the garden-window, and steal across the canvas, I see a beautiful picture which I certainly never painted.

First the light plays on the flowing hair where it dips into the water, and gives it just the aureate tints I tried in vain to mix; then steadily creeping on, it illuminates, first the closed eyes and the parted lips, then the body and the seaweed straggling across it, and presently it reaches the urchin in the Concha, and would fain make me imagine that I could paint an iridescent shell and a child of flesh and blood.

Those are moments of happy delusions and I acknowledge it gratefully, for it is not vouchsafed to every one to paint his pictures together with the blessed sun, any more than it is to write his poems together with Robert Browning, or indeed to sit down daily to a square meal, and to have before him a canvas into which he can weave pleasant memories of the Past.

* * * * * *

A portrait I was painting of Sir James Ingham, the Bow Street magistrate, led to the following incident. I was telling my sitter how great were the difficulties I had to contend with as a host and an impresario when I had a musical At home at the Studio.

Which of one\'s talented friends should be asked first? Should Signora Cantilena come before or after Madame Pianota? Singers to be sure are entitled to most consideration. They are invariably affected by the weather, whilst the pianists are only out of practice. If I want la Signora to sing at about eleven o\'clock, I begin asking her to favour us at a quarter-past ten, allowing her from forty to fifty minutes to get over the insurmountable difficulties which, just to-day, stand in the way of her acceding to my request. But then, in the kindness of her heart, when once she begins, she is inclined to go on till she has successfully illustrated the wonderful variety of her talent. And there is Heir Thumpen Krasch, who is waiting all the while to get to the piano, and when he is there, he is naturally disinclined to play his best pieces first, and reserves his Monster-Rhapsody on Wagner\'s Trilogy, the success of the season, for what I call the after-end. As for myself, I forget my duties and go into raptures, delighted as I am to think that my friends sing and play their best in the genial atmosphere of the Studio. But oh, the other virtuosi who are waiting to be heard! "Ote-toi, que je m\'y mette" is the motto of every true artist, and my friends are all true artists.

"Yes," said Sir James, "those troubles are as old as the hills. Don\'t you recollect the lines Horace wrote two thousand years ago?" and he quoted them.

"Splendid! I wish you would write them down for me; my Latin is rather rusty, and I should like to remember them."

So he wrote:—
H............