from some hook. He stands with his forefinger extended, like a disused
semaphore-post, that seems tumbling and desponding on the hill by the
highroad, in his attitude while telling the tale; if standing it may be
called, where the whole figure appears imploring for a seat. That was
his natural position, as one would suppose any artist must have thought,
and a horse beneath him. But it has been suggested that the artist in
question was no painter of animals. Then why did he not get a painter of
animals to put in the horse? It is vain to ask, though it is notorious
that artists combine without bickering to do these things; and one puts
his name on the animal, the other on the human being or landscape.

My informant adds, that the prominent feature, telling a melancholy tale
of its own, is of sanguine colour, and while plainly in the act of
speaking, Charles Dump might be fancied about to drop off to sleep. He
was impressed by the dreaminess of the face; and I must say I regard him
as an interesting character. During my girlhood Napoleon Bonaparte alone
would have been his rival for filling an inn along our roads. I have
known our boys go to bed obediently and get up at night to run three
miles to THE WHEATSHEAF, only to stand on the bench or traveller's-rest
outside the window and look in at Charles Dump reciting, with just room
enough in the crowd to point his finger, as his way was.

He left a child, Mary Dump, who grew up to become lady's maid to Livia
Fakenham, daughter of Curtis, the beauty of Hampshire, equalled by no one
save her cousin Henrietta Fakenham, the daughter of Commodore Baldwin;
and they were two different kinds of beauties, not to be compared, and
different were their fortunes; for this lady was likened to the sun going
down on a cloudy noon, and that lady to the moon riding through a stormy
night. Livia was the young widow of Lord Duffield when she accepted the
Earl of Fleetwood, and was his third countess, and again a widow at