Gallery, as also Holl's 'Chamberlain,' by Sir Charles's bequest.]
painted by Ford Madox Brown in 1871, recalled an earlier friendship, as
did the portrait of John Stuart Mill, who, never having sat to any
painter, just before his death allowed Watts to paint this for Sir
Charles. The picture came home on the day Mill died, and is the
original. It was left by will to the Westminster Town Hall. The picture
in the National Portrait Gallery is a replica, painted by Sir Charles's
leave. By Watts was also a beautiful portrait of Sir Charles himself,
the pendant to another which has gone. He and his first wife were
painted for each other, but the portrait of her seemed to him so
inadequately to render the 'real charm' of the dead woman that he
destroyed it. The illustrations of this book contain some reproductions
of pictures mentioned here.

Reminiscent of earlier family friendships were the Keats relics here and
in Sir Charles's own study. Many of these had been bought by old Mr.
Dilke from Keats's love, Fanny Brawne, to save them from the indignity
of an auction.

In the Blue Room also hung some extraordinarily fine pictures by Blake,
who was the friend of Sir Charles's grandfather--among them 'The
Crucifixion,' 'The Blasphemer,' and 'The Devil,' [Footnote: 'I gave four
of my Blakes to the South Kensington Museum in 1884.'] The best loved
both by the grandfather and by Sir Charles was the beautiful 'Queen
Catherine's Dream.' A precious copy of _The Songs of Innocence_,
hand-painted by Blake and his wife, completed the collection. There were
several reliefs by Dalou in the house, the finest let in over the
mantelpiece of the Blue Room, a copy of Flaxman's Mercury and Pandora.
They were executed for Sir Charles when the sculptor was in London in
great distress after the Commune, before the amnesty which retrieved his