triumphal progress, and even now I can picture the young prince with his
round chubby face and little side-whiskers, and the vision of almost
tearfully-smiling beauty, in blue and white, which swept past my eager
boyish eyes.

During the Easter holidays of 1864 Garibaldi came to England. My uncle,
Frank Vizetelly, was the chief war-artist of that period, the predecessor,
in fact, of the late Melton Prior. He knew Garibaldi well, having first
met him during the war of 1859, and having subsequently accompanied him
during his campaign through Sicily and then on to Naples--afterwards,
moreover, staying with him at Caprera. And so my uncle carried me and his
son, my cousin Albert, to Stafford House (where he had the _entree_), and
the grave-looking Liberator patted us on the head, called us his children,
and at Frank Vizetelly's request gave us photographs of himself. I then
little imagined that I should next see him in France, at the close of the
war with Germany, during a part of which my brother Edward acted as one of
his orderly officers.

My father, being at the head of a prominent London newspaper, often
received tickets for one and another theatre. Thus, during my winter
holidays, I saw many of the old pantomimes at Drury Lane and elsewhere. I
also well remember Sothern's "Lord Dundreary," and a play called "The
Duke's Motto," which was based on Paul Feval's novel, "Le Bossu." I
frequently witnessed the entertainments given by the German Reeds, Corney
Grain, and Woodin, the clever quick-change artist. I likewise remember
Leotard the acrobat at the Alhambra, and sundry performances at the old
Pantheon, where I heard such popular songs as "The Captain with the
Whiskers" and "The Charming Young Widow I met in the Train." Nigger
ditties were often the "rage" during my boyhood, and some of them, like
"Dixie-land" and "So Early in the Morning," still linger in my memory.