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I used to do the knives first, for it might please God to take me before I came to the forks, and then what a sell it would have been to have done the forks rather than the knives! Terseness Talking with Gogin last night, I said that in writing it took more time and trouble to get a thing short than long. He said it was the same in painting.

He made a number of friends at Heatherley's, and among them Miss Eliza Mary Anne Savage. There also he first met Charles Gogin, who, in 1896, painted the portrait of Butler which is now in the National Portrait Gallery.

When Gogin and I were taking our Easter holiday this year we went, among other places, to Ypres. We put up at the Hotel Tete d'Or and found it exquisitely clean, comfortable and cheap, with a charming old-world, last-century feeling. It was Good Friday, and we were to dine maigre; this was so clearly de rigueur that we did not venture even the feeblest protest.

When he left off and went away they followed him with their eyes, speechless. St. Pancras' Bells Gogin lives at 164 Euston Road, just opposite St. Pancras Church, and the bells play doleful hymn tunes opposite his window which worries him. My St.

The Manning-Parry barrister looked up with an air of slightly offended surprise. Conversation was from this point carried on between both parties through the Italian who acted, as Gogin said afterwards, like one of those stones in times of plague on which people from the country put their butter and eggs and people from the town their money.

I bid up to a hundred guineas, but there was someone else bent on having it and when he bid 105 guineas I let him have it, not without regret. I saw in the Times that the purchaser's name was Lesser. I bid up to 10 pounds and then let it go. Watts I was telling Gogin how I had seen at Christie's some pictures by Watts and how much I had disliked them.

They appealed to the Italian, but he said there was a great reaction against Raffaelle in Italy now and that few of the younger men thought of him as their fathers had done. Gogin, of course, backed me up, so they were in a minority. It was not at all what they expected or were accustomed to. I yielded wherever I could and never differed without giving a reason which they could understand.

They had promised him sittings at the Royal Academy and then refused him on the ground that his legs were too hairy. He complained to Gogin: "Why," said he, "I sat at the Slade School for the figure only last week, and there were five ladies, but not one of them told me my legs were too hairy." A Sailor Boy and Some Chickens

Charles Gogin made an etching for the frontispiece, drew some of the pictures, and put figures into others; half a dozen are mine. They were all redrawn in ink from sketches made on the spot, in oil, water-colour, and pencil.

I have not the man's words but Gogin said they were like a Japanese drawing, that is to say, wonderfully charming, and showing great knowledge but not done in the least after the manner in which a European would do them. The bystanders stood open-mouthed and could make nothing of it, but they liked it, and the Japanese gentleman liked addressing them.