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Updated: May 13, 2025
"Reasons for studying languages: French, Italian, D'Eterville. Southern tongues. Dante. Walks. The Quaker's Home, Mousehold. Petulengro. The Gypsies. The Office. Welsh. Lhuyd. German. Levy. Billy Taylor. Danish. Kaempe Viser. Billy Taylor. Dinner. Bowring. Hebrew. The Jew. Philosophy. Radicalism. Ranters. Thurtell. Boxers.
As she entered, a letter was handed her from Frankl. "Dear Miss Hogarth: "It is only due to you that I should see you at once to explain the mystery of this affair, so as to clear your brother, and as it would not do for me to call upon you for obvious reasons, the only thing for us to do is to meet to-night on Mousehold Heath at 7 P.M. without fail..." What now was she to do?
A great camp was formed at Mousehold Hill near Norwich; order was strictly maintained; morning and evening the new services were read. There was so much to be said in favour of the insurgents that they were offered a free pardon if they would disperse; but unfortunately Ket cavilled at the word "Pardon" on the ground that no offence had been committed, whereupon the herald called him a traitor.
First, he appears in the green lane near Norman Cross; then at Norwich Fair and on Mousehold Heath; again at Greenwich Fair, where he tries to persuade Lavengro to take to the gipsy life; and once more in the neighbourhood of the noted dingle of the Isopel Berners episode. This, of course, is due to the exigencies of what Mr.
"Mousehold Heath," showing a rough and broken country, is one of her strongest pictures in oils; "Stretching to the Sea" is also excellent. Among the water-colors "Strangers' Hall," Norwich, and "Fleeting Clouds," merit attention, as do a number of others. One could rarely see so many works, with such varied subjects, treated in oils, water-colors, dry point, etc., by the same artist.
Even during that strange time when hardships and passions held me captive far from any glimpse of the flowering earth, I could be moved, and moved deeply, by a picture of the simplest rustic scene. At rare moments, when a happy chance led me into the National Gallery, I used to stand long before such pictures as "The Valley Farm," "The Cornfield," "Mousehold Heath."
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