of the two, and the railway guard starting his train with the
old-fashioned horn-signal on the G.E.C. then in use.

My friend Jean soon started on his career as a regular exhibitor in
Belgium and Holland, besides which he developed a remarkable taste and
talent for teaching.

[Illustration: PEGGY AND DU MAURIER AT THE RAILWAY STATION IN
MALINES.]

"What would you advise about Pen's studies?" said Robert Browning
one afternoon as we sat in my little studio, talking about his son's
talents and prospects. (This was a few years after my final return to
England.) "Send him to Antwerp," I said, "to Heyermans; he is the best
man I know of to start him."

Pen went, and soon made surprising progress, painting a picture
after little more than a twelve-month that at once found an eager
purchaser. The poet took great pride in his son's success, and lost no
opportunity of speaking in the most grateful and appreciative terms
of the teacher. Millais and Tadema endorsed his praise, and Heyermans'
reputation was established. A few years ago he migrated to London,
where he continues his work, pluckily upholding the traditions of the
Past, whilst readily encouraging the wholesome aspirations of a rising
generation.

Another man destined to find a permanent home in England was Alma
Tadema. He was not much in the Painting Class in my time, but had
previously been hard at work there. I mostly saw him in the room
adjoining it, and he always seemed to me exclusively interested in the