truth that no man in
this world is satisfied with the lot which either fortune or
others have put him to."--_"T. P." in his "Weekly."_

HORACE, of course, was always rushing into print.

* * * * *

"Her hands dropped to her side. She toyed with the little locket
on the gold chain at her throat. 'I am capable of anything!' she
said."--_"Daily Mirror" Serial._

Evidently.

* * * * *

[Illustration: _Keeper_ (_who, unobserved, has been watching the
transgressor_). "Ay, man, ye _hae_ a conscience, but it's gae elastic,
I'm thinkin'."]

* * * * *

OUR BOOKING-OFFICE.

(_By Mr. Punch's Staff of Learned Clerks._)

MR. HENRY HOLIDAY'S _Reminiscences of my Life_ (HEINEMANN) will show you
a kindly simple soul who had an extraordinarily nice time, met all kinds
of interesting folk, and had a generous devotion to any number of
unpopular causes, such as Women's Suffrage, the futuristic socialism of
BELLAMY'S _Looking Backward_, Home Rule in Ireland, healthy and artistic
dress, good music, the abolition of war. Whatever capacity of expression
his successful and not undistinguished career as a painter (amongst
other things, of BEATRICE cutting DANTE on the bridge), stained-glass
worker and mural decorator proves him to have had in his proper medium,
the gift of pointed literary expression and appropriate selection seems
to have been withheld from him. But he has little reason to complain.
Some, at least, of his causes are appreciably nearer victory than when
he espoused them; we are even a little nearer looking backwards. One
small point in these discursive memoirs will especially delight the
mildly cynical--that this worthy pre-Raphaelite, who with his friends
had suffered so much from the limitations of view of a mid-Victorian
Royal Academy, should be so maliciously ready to have all modern rebels
in paint, their milestones hung about their necks, sunk in the
nethermost deeps with all their works! One can find diversion, too, in
the decorous story of Mr. HOLIDAY'S nude statue of _Sleep_, rejected
(according to a message from G. F. WATTS) on account of its nudity in
1879 by that same Academy, and accepted in 1880 when the artist with
laborious modesty had modelled for it a plaster-of-paris nightgown. The
author claims some share, through the Healthy and Artistic Dress Union,
in the changes towards rational bea