Excerpt: "Mr and Mrs Robert Drummond lived in a pretty house in the Kensington district; a house, the very external aspect of which informed the passer-by who they were, or at least what the husband was. The house was embowered in its little garden; and in spring, with its lilacs and laburnums, looked like a great bouquet of bloom—as such houses often do. But built out from the house, and occupying a large slice of the garden at the side, was a long room, lighted with sky windows, and not by any means charming to look at outside, though the creepers, which had not long been planted, were beginning to climb upon the walls. It was connected with the house by a passage which acted as a conservatory, and was full of flowers; and everything had been done that could be done to render the new studio as beautiful in aspect as it was in meaning. But it was new, and had scarcely yet begun, as its proprietor said, to 'compose' with its surroundings. Robert Drummond, accordingly, was a painter, a painter producing, in the mean time, pictures of the class called genre; but intending to be historical, and to take to the highest school of art as soon as life and fame would permit. He was a very good painter; his subjects were truly 'felt' and exquisitely manipulated; but there was no energy of emotion, no originality of genius about them. A great many people admired them very much; other painters lingered over them lovingly, with that true professional admiration of 'good work' which counteracts the jealousy of trade in every honest mind. They were very saleable articles, indeed, and had procured a considerable amount of prosperity for the young painter. It was almost certain that he would be made an Associate at the next vacancy, and an Academician in time. But with all this, he was well aware that he was no genius, and so was his wife."
