lves, being, no doubt,
amused by the Lamb-like pun, but also enjoying the malicious pleasure of
hinting that it might have been as well for their art education if the
advice of the gentle humorist had been followed. Anyone who wants to
know what kind of an artist F. S. Cary was can see his picture of Charles
and Mary Lamb in the National Portrait Gallery.

In 1865 Butler sent from London to New Zealand an article entitled
"Lucubratio Ebria," which was published in the _Press_ of 29th July,
1865. It treated machines from a point of view different from that
adopted in "Darwin among the Machines," and was one of the steps that led
to _Erewhon_ and ultimately to _Life and Habit_. The article is
reproduced in _The Note-Books of Samuel Butler_ (1912).

Butler also studied art at South Kensington, but by 1867 he had begun to
go to Heatherley's School of Art in Newman Street, where he continued
going for many years. He made a number of friends at Heatherley's, and
among them Miss Eliza Mary Anne Savage. There also he first met Charles
Gogin, who, in 1896, painted the portrait of Butler which is now in the
National Portrait Gallery. He described himself as an artist in the Post
Office Directory, and between 1868 and 1876 exhibited at the Royal
Academy about a dozen pictures, of which the most important was "Mr.
Heatherley's Holiday," hung on the line in 1874. He left it by his will
to his college friend Jason Smith, whose representatives, after his
death, in 1910, gave it to the nation, and it is now in the National
Gallery of British Art. Mr. Heatherley never went away for a holiday; he
once had to go out of town on business and did not return till the next
day; one of the students asked him how he had got on, saying no doubt he
had enjoyed the change and that he must have found it refreshing to sleep
for once out of London.

"No," said Heatherley, "I did not like it. Country air has no body."

The consequence was that, whenever there was a holiday and the school was
shut, Heatherley employed the time in mending the skeleton; Butler's
picture represents him so engaged in a corner of the studio. In this way
he got his model for nothing. Sometimes he hung up a looking-glass near
one of his windows and painted his own portrait. Many of these he
painted out, but after his death we found a little store of them in his
rooms, some of the early ones very curious. Of the best of them one is
now at Canterbury, New Zealand