ory of the rise and development of
Greek portraiture? The principal omission of which he complains is
the legend of the daughter of Dibutades--calling it an omission
because, forsooth, he did not read it in the _Times_ report! But,
in point of fact, not only did I give the story at length, but I
reproduced on the screen Mortimer's well-known picture of the
incident. Surely it is not too much to ask, even for a caricaturist
to ask--for such he somewhat scornfully terms me--that when so
powerful a personality as a leader writer levels his pen against an
individual, however humble, he should not depend upon the report of
another newspaper, the exigencies of whose space naturally prevent,
it may be assumed, the devotion of more than a column verbatim
report to any utterances of a 'mere caricaturist.' But, frankly,
does the nature of my own occupation in the arts preclude me from
pronouncing a correct judgment on portraits and portraiture? For
that, after all, is the burden of your article. Is not an opinion,
if correct, as good coming from a bootblack as from a Royal
Academician? If so, I submit that mine, if worthy of discussion at
all, might at least be ascertained and be considered with respect.
If not, then I bring the lecture of Professor Herkomer, A.R.A.,
published on the very same day as your article, to witness that my
judgment was a fair one. By a curious coincidence, he lectured at
Leeds on the self-same subject within twenty-four hours of the
delivery of my own little lecture; he travelled over much the same
ground; brought forward in some instances the very same examples as
I, and deduced very much the same conclusions."

I happened to call in at the Garrick Club on my way to the _Punch_
dinner, and there found a copy of the _Daily Telegraph_ containing the
leader, on the margin of which was written with the familiar purple ink,
in Lewis Wingfield's handwriting, "G.A.S. on Hy. F." Wingfield was
Sala's neighbour and friend, so this settled any doubt I had about the
authorship of the article I have just referred to. When I showed it to
du Maurier, who sat next to me at dinner, he said, "I say, old chap,
I'll tell you a capital story about Sala which you might use. When he
was an art student, he tried to get into the Art Schools of the Royal
Academy, and for that purpose had to draw the usual