grapple completely in the
limited time allowed for the performance. Still I managed in a light way
to review the history of portraiture from Dibutades to Millais, and
from its display in the Temples to its discouragement at the National
Portrait Gallery, taking as my text Carlyle's dictum that "Human
Portraits faithfully drawn are of all pictures the welcomest on Human
Walls," a sentiment that appeals to all, for there is no doubt human
beings interest us more than anything else. The Pyramids of Egypt awe,
but our interest is in those who raised them; Ancient Rome enchants in
exact proportion to our interest in the Ancient Romans; the Forum is but
a frame which the imagination instinctively fills with the forms of the
mighty men who moved there; the Amphitheatre would have little interest
but for those who made its dust; and when we wander through our
Parliament at Westminster it is not so much the place that interests us
as the senators associated with its name. I confess that when I travel
on the Continent I cut cathedrals and study the people, in the
boulevards, in the streets, in the market-place. When I have spare time
in London I do the same, and at one time made a point of spending a day
now and then wandering about the East End of London for the purpose of
studying character; and it was while so occupied that I happened to
stray into our National Portrait Gallery. I was astonished and disgusted
at such a collection having such a name, and there and then decided that
I would make this the subject of my lecture, and the following is
briefly my indictment as I then laid it before the Grand Jury, composed
of the Press and the Public:

"Of all places, a Portrait Gallery should appeal to you most, and the
National Portrait Gallery is the place in which to spend a happy day.

"That is, if you are not critical. If you are, then get thee to a
library and bury thyself in books of biography, for portrait painters
were deceivers ever, historical portrait painters in particular.

"The National Portrait Gallery was founded about thirty years ago, and
the founder, Lord Stanhope, had the audacity to ask for a yearly grant
of L500 for the purpose of supplying the nation with a representative
collection of national portraits. The first purchase made by the
trustees was a portrait of Sir Walter Raleigh (rather suggestive of the
undertaking ending in smoke). However, it has struggled on, such as it
is.

"Truly it is in no sens