at Hudson, who could not paint much of a picture himself, but
for a consideration was willing to show others how.

Rumor has it that Warmell got a certain sum in English gold for all
pupils he sent to Hudson's studio, but I take no stock in such
insinuations.

Warmell here disappears from mortal view, like one of those stage
trapdoor vanishings of Mephisto--only Mephisto usually comes back, but
Warmell never did.

Reynolds was very happy at Hudson's studio. He was only seventeen years
old when he arrived there, fresh from the country. London was a marvel of
delight to Joshua; the shops, theaters, galleries and exhibitions were a
never-ending source of joy. He worked with diligence, and probably got
more for his money than any one of Hudson's fifty pupils. Hudson was
well-to-do, dignified and kind. His place was full of casts and classic
fragments, and when he had set his pupils to copying these he considered
his day's work done.

Joshua wrote glowing letters home, telling of all he did. "While I am at
work I am the happiest creature alive," he said. Hudson set Joshua to
copying Guercino's works, and kept the lad at it so steadily that he was
really never able to draw from Nature correctly thereafter.

After a year, Craunch came up from the country to see how his ward was
getting along. Joshua showed him the lions of the city; and painted his
picture, making so fine a portrait that when Mr. Craunch got back home he
threw away the one made by Warmell.

Once at an exhibition Joshua met Alexander Pope, whom he had seen several
times at Hudson's studio. Pope remembered him and shook hands. Joshua was
so inflated by the honor that he hastened home to write a letter to his
mother and tell her all about it.

According to the terms of agreement with Hudson, Joshua was bound to stay
four years; but now two years had passed, and one fine day in sudden
wrath Hudson told him to pack up his kit and go.

The trouble was that Joshua could paint better than Hudson--every pupil
in the school knew it. When the scholars wanted advice they went to
Reynolds, and some of them, being sons of rich men, paid Reynolds for
helping them.

Then Reynolds had painted a few portraits on his own account and had kept
the money, as he had a perfect right to do. Hudson said he hadn't, for he
was bound as an apprentice to him.

"But only during working-hours," replied young Reynolds. We can hardly
blame Hudson for sending him away--no master wan