gladly supply, but our business is only with the backward parts and
'abject rear' of this aesthetic dwelling.

Here was a garden, boasting a dwarf fountain (that never played) in the
centre, a few grimy-looking flowers in pots, two or three newly
planted trees which the spring of Chelsea visited without noticeable
consequence, and two or three statues after the antique, representing
satyrs and nymphs in the worst possible style of sculptured art. On one
side the garden was overshadowed by a pair of crazy studios, usually
hired out to the more obscure and youthful practitioners of British
art. Opposite these another lofty out-building, somewhat more carefully
finished, and boasting of a communication with the house and a private
door on the back lane, enshrined the multifarious industry of Mr Pitman.
All day, it is true, he was engaged in the work of education at a
seminary for young ladies; but the evenings at least were his own, and
these he would prolong far into the night, now dashing off 'A landscape
with waterfall' in oil, now a volunteer bust ('in marble', as he would
gently but proudly observe) of some public character, now stooping
his chisel to a mere 'nymph' for a gasbracket on a stair, sir', or a
life-size 'Infant Samuel' for a religious nursery. Mr Pitman had studied
in Paris, and he had studied in Rome, supplied with funds by a fond
parent who went subsequently bankrupt in consequence of a fall in
corsets; and though he was never thought to have the smallest modicum
of talent, it was at one time supposed that he had learned his business.
Eighteen years of what is called 'tuition' had relieved him of the
dangerous knowledge. His artist lodgers would sometimes reason with him;
they would point out to him how impossible it was to paint by gaslight,
or to sculpture life-sized nymphs without a model.

'I know that,' he would reply. 'No one in Norfolk Street knows it